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THIS 

ART  YEAR-BOOK 

WAS  MADE  FOR  THE 
NEW  ENGLAND  MANUFACTU- 
RERS' &  mechanics'  institute 

BY 

ARTHUR  B.  TURNURE 

PROPRIETOR  OF 

THE  ART  AGE  press 

132   NASSAU  STREET, 

NEW  YORK. 


COPYRIGHT  1884  BY  ARTHUR  B.  TURNURE 


PREFACE 


He  object  of  this  publication  is  to  present  to  the  world  a  volume,  in  which 
the  highest  American  art  products  of  the  year  are  represented  by  means 
of  suitable  graphic  arts,  and  produced  entirely  by  means  of  American 
brains,  labor  and  materials,  the  only  exceptions  being  in  the  use  of  Chinese, 
Japanese  and  India  papers  to  be  found  in  the  limited  Editions.  The  plates  used  have 
been  destroyed.    The  main  edition  is  2000  copies. 

The  success  of  the  art  publication  of  the  Institute  for  1883  was  so  gratifying  that 
this  volume  is  offered  with  confidence  in  the  result  of  the  reception  anticipated.  It  has 
been  necessary  this  year  also,  as  last,  to  depend  largely  upon  the  interest  of  prominent 
artists  who,  while  they  had  no  pecuniary  responsibility  in  the  undertaking,  were  indis- 
pensable to  the  production  of  a  representative  work.  In  publishing  the  Art  Year-book 
for  1885,  it  is  intended,  however,  now  that  the  work  has  been  fairly  begun  as  an  annual, 
to  devise  some  cooperative  system  by  which  contributors  of  drawings  may  share  in  the 
profits.  This  plan  especially  recommends  itself  to  the  New  England  Institute  as  being  in 
consonance  with  a  generally  progressive  policy,  part  of  which  is  the  advocacy  of  measures 
tending  towards  cooperation  of  labor  and  capital.  To  all  concerned  and  represented  in 
its  pages,  the  Institute  desires  to  return  hearty  thanks  for  their  aid. 

John  Mason  Little 
Vice-President  and  Chairman  of  Committee  on  Exposition, 
Frank  T.  Robinson  New  England  Institute,  Boston,  Mass. 

ART  DIRECTOR,  Hotel  Pclham. 


OFFICERS  OF  THE  INSTITUTE 


EXECUTIVE  COMMITTEE 
James  L.  Little,  President  (Hotel  Pelham),  Boston. 
Samuel  R.  PaysoN  (White,  Payson  &  Co.),  Boston, 
Wm.  B.  Merrill  (Downer  Kerosene  Oil  Co.),  Boston, 
John  M.  Little  (Hotel  Pelham),  Boston, 


Vice 
Presidents. 


John  F.  Wood,  Treasurer,  Boston.    (Of  Union  Stone  Co.,  38  Haw- 
ley  Street.) 

F.  W.  Griffin,  Secretary,  Boston.    (Of  GrifBn  &  Griffin,  Attorneys, 
44  Court  Street.) 

A.  L.  Coolidge,  Boston.  (Of  Houghton,  Coolidge  &  Co.)  JAMES  H.  WORK, 
Boston.  (Of  Providence  Tool  Co.)  S.  A.  WOODS  (Of  S,  A.  Woods  Machine  Co.) 
George  L.  Damon,  Boston.  (Of  American  Steam  Safe  Works.)  Edward  Kendall, 
Cambridgeport,  Mass.  (Of  Kendall  &  Roberts,  Boiler  Manufacturers.)  Henry  Mason, 
Bo.=ton.  (Of  Mason  &  Hamlin  Organ  Co.)  W.  C.  LOVERING,  Taunton,  Mass.  (Of 
Whittenton  Manufacturing  Co.)  THEODORE  C.  BATES,  Worcester,  Mass.  (Of  Worce- 
ster Corset  Co.)  George  Crompton,  Worcester,  Mass.  (Of  Crompton  Loom  Works.) 
William  F.  Goulding,  Lewiston,  Maine.  (Of  Androscoggin  Mills.)  F.  C.  Kennedy, 
Burlington,  Vt.  (Of  Burlington  Woolen  Co.)  Frederick  Grinnell,  Providence,  R.  I. 
(Of  Providence  Steam  and  Gas  Pipe  Co.)  W.  E.  Barrows,  Hartford,  Conn.  (Of  Willi- 
mantic  Linen  Co.)  F.  A.  Pratt,  Hartford,  Conn.  (Of  F.  A.  Pratt  &  Whitney  Co.) 
P.  C.  Cheney,  Manchester,  N.  H.  Wm.  H.  Forbes,  Boston.  (Of  Forbes  Lithograph 
Manufacturing  Co.)  Alex.  H.  Rice,  Boston.  (Of  Rice,  Kendall  &  Co.)  W.  L.  BRAD- 
LEY, Boston.  (Of  Bradley  Fertilizer  Co.)  W.  G.  Means,  Boston.  (Of  Manchester  Loco- 
motive Works.) 


COMMITTEE  ON  CONDUCT  OF  FAIR 

John  Mason  Little,  Chairman 
John  F.  Wood  James  L.  Little 

Frederick  W.  Griffin 


HISTORY  AND  POLICY  OF 

THE  NEW  ENGLAND  MANU- 
FACTURERS' AND  MECHANICS' 
INSTITUTE :    INCORPORA  TED 

APRIL  PITH,  p8yg. 


Rior  to  the  time  of  incorporating  the 


Institute  no  regular  system  of  industrial 
exhibitions  existed  in  New  England,  although 
many  agricultural  shows  were  held  annually  on 
fixed  dates.  The  only  industrial  exhibitions  at 
Boston  were  organised  under  the  auspices  of 
an  association  formed  with  an  ulterior  purpose. 
Nor  were  these  held  in  permanent  structures 
or  with  regular  intervals.  They  served,  how- 
ever, to  demonstrate  that  industrial  exhibitions 
were  beneficent  in  many  ways ;  that  they  were 
even  more  valuable  to  the  manufacturer  than 
agricultural  shows  were  to  the  farmer,  and 
they  emphasised  the  fact  that  the  prospective 
wealth  of  New  England  depends  mainly  upon 
the  development  of  its  manufacturing  in- 
dustries. 

At  the  last  exhibition  held  in  a  temporary 
structure — that  of  1878 — it  became  evident 
that  a  permanent  organisation  and  a  building 
were  needed,  as  over  three-fifths  of  those 
wishing  to  exhibit  could  not  be  accommodated 
'because  of  lack  of  space.  Therefore,  in 
September,  1878,  about  thirty  prominent 
manufacturers  held  a  meeting,  at  which  a 
committee  on  organisation  was  appointed  to 
report  subsequently.  Upon  the  adoption  of 
their  report,  February  13th,  1879,  t'"**^  organi- 
sation was  effected,  and  the  Institute  incor- 
porated on  April  nth,  1879,  "for  the  purpose 
of  the  general  improvement  of  the  manu- 
facturing and  mechanical  interests  of  New 


England  ;  to  provide  means  by  which  worthy 
and  adequate  exhibitions  of  manufactures  and 
other  productions  can  be  given,  and  cognate 
objects ;  to  obtain  and  distribute  information 
relative  to  export  business  ;  to  create  and 
regulate  methods  of  industrial  education  ;  to 
improve  the  technical  knowledge  of  the  mem- 
bers of  the  society  by  libraries,  technical 
lectures  and  discussions." 

This  movement  was  greeted  with  a  large 
measure  of  confidence  and  assistance — though, 
as  an  organisation  independent  of  the  Asso- 
ciation under  whose  auspices  exhibitions  had 
been  held,  it  naturally  met  with  some  hostile 
criticism.  It  should  be  noted,  however,  that 
overtures  tending  towards  a  combination  of 
interests  had  been  made  and  uncompromis- 
ingly rejected  by  the  existing  association. 

As  its  first  step  the  Institute  proceeded  to 
arrange  for  regular  annual  expositions  that 
were  to  unite  the  two  purposes  of  a  fair  and 
an  exhibition  :  that  is,  exhibits  were  to  be  both 
ixposed  and  to  be  sold.  Manufacturers  were 
to  be  encouraged  to  exhibit  their  best  goods 
and  to  inspect  the  best  work  of  others,  and  the 
pense  so  incurred  to  be  defrayed  by  in- 
'reased  sales.  Finally,  as  a  safeguard  against 
arbitrary  discrimination,  it  was  determined 
that  no  medals  or  awards  were  to  be  made  in 
any  event,  but  that  all  exhibits  were  to  seek 
public  recognition  on  their  merits — utilitarian 
.or.  artistic. 

(  ^efora  holding  the  first  exhibition  in  1881, 


the  original  capital  of  $ioo,ooo  was  increased 
to  $200,000,  and  the  large  building  erected, 
which  has  been  used  since  then.  As  addi- 
tions were  required  they  were  made,  espe- 
cially two  art  galleries,  the  indissoluble 
connection  of  art  and  utility  in  the  exhibits 
having  become  conspicuously  evident  to  the 
management.  Toward  the  art  exhibits,  how- 
ever, the  same  policy  of  not  discriminating 
between  exhibits  was  to  be  pursued — and 
to  that  policy  the  annual  fine  arts  collection 
owes  its  success.  This  year  the  display  is 
remarkable  for  its  superiority  over  its  prede- 
cessors. 

The  Institute  also  has  endeavored  to 
develope  applied  art,  and  with  this  in  view 
has  given  special  encouragement  to  exhibits 
of  art  manufactures,  such  as  stained  glass, 
metal  work,  textiles  and  art  furniture.  It 
hopes,  in  fact,  to  gather  annually  a  collection 
of  art  exhibits  of  all  kinds  that  will  repre- 
.sent,  as  far  as  is  possible,  American  art  in  all 
its  phases. 

So  far  the  utmost  liberality  has  been 
shown  in  this  regard.  In  connection  with 
the  exhibition  of  1883,  and  at  an  expen- 
diture of  about  $10,000,  a  sumptuous  cata- 
logue was  prepared,  and  its  success  made  it 
the  precursor  of  this  Art  Year-book  —  a 
publication  conceived  upon  a  moi^Tcrmpre- 
hensive  plan  than  that  of  a  catalogue  and  in 

F 


V 


pursuance  of  the  general  policy  of  progressive- 
ncss  that  has  been  followed  in  all  instances  by 
the  Institute  since  its  inception. 

In  conclusion  a  word  should  be  said  of  a 
feature  of  the  exhibition  of  1883.  In  1882  the 
P  management  invited  the  Southern  railroads  to 
^  exhibit  the  natural  resources  of  the  South. 
The  almost  phenomenal  success  of  this  move 
warranted  the  extension  of  an  invitation  to 
the  South  and  West  to  join  in  the  exhibition 
of  1883;  ^rid  the  result  as  shown  by  the  dis- 
plays in  that  exhibition  were  most  gratifying 
to  all  concerned. 

Important,  however,  as  are  the  exhibitions 
of  the  Institute,  it  has  never  thought  that 
these  alone  are  sufificient  to  meet  the  require- 
ments of  those  who  are  engaged  in  similar 
kinds  of  employment  and  business,  and  who 
are  disposed  to  extend  their  cooperative  efforts 
toward  a  more  comprehensive  organisation. 
Exactly  how  this  organisation  shall  be  com- 
pleted must  be  left  to  time  and  the  gradual 
development  of  events.  The  nucleus  of  it  is 
formed,  it  becomes  day  by  day  more  cohesive 
and  compact,  and  the  Institute  has  shown  its 
watchfulness  of  events  and  its  quick  desire 
to  take  advantage  of  them.  The  position 
which  it  occupies  renders  it  peculiarly  well 
adapted  to  assist  in  that  development. 

■''^  * 
I* 


HOWARD  PYLE,  PINX. 


LESLIE  PHOTO  ENG.  CO.,  SC. 


\ 


NOTES:  DESCRIPTIVE  AND  BIOGRAPHIC 


Introductory. — The  chief  difficulty  encountered  in  making  such  books  as  this  volume 
is  that  of  bringing  heterogeneous  material  into  cohesive  form,  unity  of  effect  being  a  most 
desirable  quality  of  all  well-made  books.  This  work  not  only  utilises  designs  supplied  by 
many  artists  of  radically  different  characteristics,  but  presents  examples  of  many  graphic  pro- 
cesses and  varieties  of  printing  that  require  different  kinds  of  paper.  How  well  the  combina- 
tion of  these  different  elements  has  been  accomplished  those  who  are  interested  in  bookmak- 
ing  as  an  art  must  determine.  It  may  be  noted,  however,  that  many  parts  of  the  book  are 
novel  in  arrangement  and  that  the  page  of  text  upon  which  the  history  of  the  Institute 
is  given  is  ornamented  with  subjects  taken  from  the  four  popular  divisions  of  art — figures, 
landscapes,  marines  and  flowers — in  view  of  the  expressed  object  of  the  corporation — the 
development  of  art  as  applied  to  manufactures.    A.  B.  T. 

Academy  of  Design  Exhibition. — The  fifty-ninth  annual  exhibition  of  the  National 
Academy  of  Design,  which  opened  on  April  7th  and  closed  on  May  17th,  1884,  was  no- 
ticeable for  the  average  excellent  quality  of  the  work  shown.  It  contained  seven  hun- 
dred and  nine  works,  many  of  which  were  of  striking  merit.  Painters  of  the  younger 
school  of  American  art  and  those  resident  in  Europe  were  well  represented.  A  matter 
for  national  artistic  congratulation  was  found  in  the  presence  of  a  large  number  of  vigor- 
ous and  carefully  studied  figure  subjects.  This  fact  well  illustrated  the  progress  made  by 
American  painters  in  this  department  of  art  during  the  past  year.  An  interesting  feature 
was  the  awarding  for  the  first  time  of  prizes  established  by  Mr.  Thomas  B.  Clarke  and 
the  late  Julius  Hallgarten,  both  of  New  York.  The  Clarke  prize  of  three  hundred  dol- 
lars, for  the  best  American  figure  composition,  was  awarded  to  Charles  F.  Ulrich  for  his 
admirable  work  showing  part  of  the  interior  of  Castle  Garden,  entitled  In  the  Land  of 
Promise.  The  Hallgarten  prizes  of  three  hundred,  two  hundred  and  one  hundred  dollars 
annually  for  the  best  three  pictures  in  oil  colors  shown  in  the  exhibition  were  awarded 
respectively  to  Mr.  C.  Y.  Turner  for  his  large  and  important  figure  subject.  The  Court- 
ship of  Miles  Standish,  to  Mr.  Louis  Moeller  for  his  excellently  painted  single  figure  with 
accessories,  entitled  Puzzled,  and  to  Mr.  William  Bliss  Baker  for  his  characteristic  Amer- 
ican landscape,  A  Woodland  Brook. 

Other  remarkable  figure  subjects  in  the  exhibition  were  An  Old-time  Melody  by  Percy 
Moran,  and  A  Difficult  Answer  by  Frank  C.  Jones.  For  skill  in  composition  and  excel- 
lence of  technique,  Mr.  C.  D.  Weldon's  The  Wedding  Dress  merited  special  attention. 
M.  A.  Woolf's  How  It  Happened  showed  unusual  cleverness  in  the  pictorial  expression 
of  a  humorous  idea.  Mrs.  Sarah  P.  Dodson  distinguished  herself  among  American  women 
figure  painters  with  her  masterly  work  representing  the  Initiation  of  the  Descendant  of 


Bacis  into  the  Mysteries  of  Augury.  The  large  French  peasant  subjects  of  Mrs.  Emma 
Chadwick  and  Edward  E.  Simmons  offered  admirable  examples  of  work  done  abroad  in  the 
department  of  figure  painting.  The  exhibition  contained  many  landscapes  of  a  high  order 
of  excellence,  and  notably  of  American  subjects.  They  were,  as  a  rule,  remarkable  for  the 
absence  of  those  foreign  affectations  of  style  so  dear  to  a  certain  class  of  American  painters, 
and  showed  pronounced  individuality  of  treatment  and  method.  A  Country  Home,  by 
R.  Swain  Gifford,  was  not  only  full  of  artistic  interest  and  skilfully  handled  throughout, 
but  absolutely  faithful  in  the  rendering  of  New  England  landscape  qualities  of  tone, 
atmosphere  and  color.  The  two  landscapes  of  Bolton  Jones,  one  of  the  younger  school, 
showed  marked  fidelity  to  nature,  and  profound,  appreciative  sentiment  allied  to  unusual 
technical  skill.  A  fine  example  of  the  methods  and  effects  of  the  elder  school  of  American 
art  was  The  Yellow  Autumn  Woods,  by  Jervis  McEntee,  a  remarkably  skilful  study  in 
yellows,  highly  finished  in  detail,  and  a  work  of  much  beauty.  Landscapes  by  J.  B.  Bristol 
and  J.  R.  Brevoort  showed  the  solid  technical  qualities  peculiar  to  the  elder  American 
landscapists.  James  D.  Smillie,  George  H.  Smillie  and  Charles  H.  Miller  were  all  repre- 
sented by  excellent  landscapes  in  their  respective  manners,  all  strikingly  personal.  Robert 
C.  Minor  had  several  works  in  his  best  vein.  Landscapes  by  G.  R.  Donoho  and  other 
American  artists  living  abroad  offered  a  valuable  study  to  persons  interested  in  noting  the 
differences  of  method  to  be  found  in  works  produced  by  American  artists  in  America  and 
American  artists  in  Europe.  In  portraiture,  Daniel  Huntington,  B.  C.  Porter,  Eastman 
Johnson,  Edwin  H.  Blashfield,  William  H.  Lippincott  and  other  well  known  artists  appeared 
to  much  advantage.  J.  W.  Alexander's  full  length  portrait  of  Joseph  Jefferson  as  Bob  Acres 
in  the  Rivals  was  decidedly  original  in  conception  and  general  scheme,  and  was  executed 
with  spirit.  Much  good  work  was  shown  in  marine  compositions.  Harry  Chase's  Battery 
Park,  New  York,  had  all  the  qualities  of  the  artist's  best  work  in  that  line,  with  an  ad- 
ditional merit  of  faithful  rendering  of  local  characteristics.  William  Bradford's  Return  of 
the  Labrador  Fishing-boats  presented  a  scene  of  unusual  interest  and  much  artistic  beauty 
in  a  creditable  manner.  A  Fresh  Breeze,  by  M.  F.  H.  De  Haas  was  a  robust  and  spirited 
piece  of  work,  well  reproducing  the  peculiarities  of  the  New  England  coast,  with  the  bold 
directness  of  method  for  which  this  artist  is  noted.  Another  good  example  of  the  purely 
American  school  of  marine  painting,  in  subject  and  treatment,  was  J.  C.  Nicoll's  Sunlight 
on  the  Sea,  showing  a  sketch  of  the  coast  of  Block  Island,  with  an  expanse  of  sunlit  surf. 
Charles  Melville  Dewey's  interesting  work,  At  the  Ebb  of  the  Tide,  giving  a  sweep  of  salt 
marshland,  with  a  fishing  sloop  and  a  rude  hut  in  the  foreground,  was  excellent  in  quality 
of  atmosphere  and  handled  with  much  subtlety. 

A  work  of  much  interest,  both  artistically  and  as  illustrating  an  American  rural  super- 
stition, was  Will  H.  Low's  Telling  the  Bees,  showing  a  bit  of  kitchen  garden  in  full  sun- 
light, with  a  barelegged,  ragged  child  of  a  type  common  to  country  neighborhoods  fastening 
a  strip  of  black  crape  to  a  bee-hive,  lest  the  bees,  knowing  that  some  one  was  dead  in  the 
little  cottage  seen  in  the  background,  should  wing  their  flight  to  more  cheerful  regions. 
The  sunlight  effect  in  this  work  was  admirably  managed.  Another  work  of  a  distinctively 
American  subject  was  A.  C.  Howland's  Veterans  of  1812,  showing  an  assemblage  of  old 
soldiers  on  a  New  England  muster-day.  The  sentiment  and  humor  of  this  composition  were 
of  a  most  delicate  kind,  and  the  character  of  the  landscape  was  completely  in  harmony  with 
the  leading  idea  of  the  picture.  A  charming  bit  of  decoration  by  William  Bailey  Faxon, 
called  Spring,  had  for  its  subject  a  gray-robed  monk  in  a  cloistered  court  watching  the 


blooming  of  fruit  trees  and  the  mating  of  birds.  It  was  as  exquisite  in  color  as  poetic  in 
conception.  Another  excellent  decorative  composition  was  Eleanor  E.  Greatorex's  study  of 
roses  and  marbles,  entitled  The  Bath,  a  superb  piece  of  color  and  handled  with  unusual  force. 
Kenyon  Cox^s  study  of  A  Corner  Window,  with  studio  accessories  and  the  figure  of  an 
etcher  seated  with  his  back  to  his  table,  was  a  fine  example  of  able  management  of  cross- 
lights,  and  was  well  painted  throughout.  F.  D,  Millet's  Regina  Convivie  was  a  work  of  high 
decorative  aim  and  full  of  classic  feeling  as  well  as  thoroughly  workmanlike  in  execution. 
It  represented  a  beautiful  maiden  in  white  draperies,  crowned  with  roses  and  seated  against  a 
marble  background  under  garlands  of  the  same  flowers.  Among  the  many  Venetian  subjects 
the  Interior  of  St.  Marks,  by  Otto  H.  Bacher,  and  The  Gondolier's  Shrine,  by  Mrs.  Rhoda 
Holmes  Nicholls,  were  noticeable  for  truth,  freshness  and  unconventional  treatment  of  well- 
worn  themes. 

Architecture. — As  a  branch  of  architecture  of  special  interest  and  involving  an  end- 
less problem,  an  example  of  city  dwellings  has  been  selected.  For  purity  of  style,  well-con- 
sidered effect,  simplicity  and  breadth  of  design  the  subject  taken  will  bear  close  examination. 
It  is  a  group  of  five  houses  in  New  York  arranged  in  one  block  on  Madison  avenue  at  Fifty- 
first  and  Fifty-second  streets.  The  architects  are  McKim,  Mead  &  White.  The  plans  and 
general  design  were  mainly  the  work  of  one  of  their  staff,  Mr.  J.  A.  Wells.  Mr.  Wells  has 
special  professional  gifts  and  has  made  a  conscientious  study  of  Italian  Renaissance  architect- 
ure. He  has  visited  Italy  several  times  and  labored  with  a  rare  devotion  towards  producing 
work  imbued  with  the  noble  spirit  of  the  Renaissance.  The  present  example  will  be  appre- 
ciated as  a  substantial  realisation  of  high  ideal. 

George  Fletcher  Babb. — The  admirably  chaste  and  thoughtful  initial  head-band  and 
tail-piece  used  to  adorn  the  sub-title-page  to  Examples  of  Graphic  Processes  is  by  this  designer, 
an  architect  by  profession.  Among  his  notable  works  may  be  mentioned  the  design  for 
the  bound  volume  of  the  Century  Magazine.  To  a  highly  original  style  of  work  Mr.  Babb 
adds  the  impress  of  a  most  refined  imagination  and  skill. 

William  Bliss  Baker. — One  of  the  prize  winners  in  the  National  Academy  exhibition 
of  1884,  Mr.  Baker,  has  been  selected  as  a  worthy  exponent  of  our  best  landscape  art. 
Though  a  young  man,  not  yet  twenty-five  years  of  age,  he  has  already  acquired  an  enviable 
reputation  in  the  art  world.  Born  November  27th,  1859,  New  York  he  began  his  course 
of  study  in  the  National  Academy  Schools  in  1876  and  first  exhibited  at  the  Academy  in 
1879.  Since  then  he  has  had  work  in  the  exhibitions  of  Boston,  Philadelphia,  Cincinnati, 
Louisville,  the  Society  of  American  Artists,  the  Water  Color  Society  and  the  Salmagundi 
Club.  His  principal  pictures  are  Woodland  Brook,  In  the  old  Pasture,  Silence,  Woodland 
Study,  Green  Pasture — July,  April  Sunshine,  November  Gray,  April  Snow,  Brook  in  Spring. 

Carroll  Beckwith. — Probably  no  young  American  artist  is  better  known  than  Mr. 
Beckwith.  As  a  student,  as  an  art  instructor  and  as  a  portrait  painter  his  career  though  brief 
as  yet,  has  been  brilliant.  In  the  principal  exhibitions  for  the  past  four  years  he  has  invari- 
ably had  some  work'of  prominence  and  his  style  is  familiar  to  many  through  the  medium 
of  the  art  journals  to  which  he  has  at  all  times  contributed  generously.  His  work  has  the 
attraction  of  realism,  positivism  and  power  and  his  specialty  is  life  sized  portraits  of  grandes 
dames.    Mr.  Beckwith  is  a  native  of  Missouri,  studied  under  Carolus  Duran  at  Paris,  and  in 


L'Ecole  de  Beaux-Arts  under  Yvon.  He  has  received  many  honorable  mentions  and  is  a  fre- 
quent contributor  to  the  French  Salon. 

Binding. — The  work  of  binding  the  Art  Year-book  is  to  be  credited  to  W.  Waters  & 
Son,  of  New  York. 

•  BOOKMAKING. — As  a  distinct  branch  of  art  industry  this  has  received  special  attention 
during  the  year  past.  The  rapid  increase  of  very  cheap  books  has  had  the  natural  effect  of 
almost  driving  out  of  market  the  moderately  well-made  book  and  of  reacting  to  increase  the 
demand  for  costly  works  which  are  published  in  limited  editions  to  subscribers.  The  prominent 
publishing  houses  have  made  several  ventures  of  this  character  with  considerable  success  and 
within  about  a  year  we  have  had  limited  editions  of  Hawthorne,  Emerson,  Keats,  Sheridan, 
Poe  and  others.  Nor  is  there  any  probability  that  but  few  are  to  follow.  The  annual  gift  book 
also  has  become  a  feature  of  bookmaking  and  following  Abbey's  Herrick  of  1882,  by  Harper 
&  Bros.,  Charles  Scribner's  Sons  published  last  winter  a  charming  version  of  Robin  Hood, 
written  and  illustrated  by  Mr.  Howard  Pyle.  This  year  we  are  promised  from  Estes  & 
Lauriat  an  edition  of  Lalla  Rookh  illustrated  with  photo-gravures  of  the  original  drawings 
by  American  artists.  Cassell  &  Co.  also  publish  a  portfolio  of  original  American  etchings  in 
continuance  of  the  publication  initiated  with  success  last  season.  In  a  broad  sense  a  "  book" 
means  any  legendary  print  and  bookmaking  includes  the  whole  range  of  newspaper  and 
magazine  manufacture  and  minor  work  such  as  circulars  and  cards.  It  is  gratifying  to  note 
that  taken  in  this  sense  there  has  been  a  marked  advance  in  bookmaking  within  a  twelve- 
month. 

Brass  Work. — The  illustration  assigned  to  this  art  industry  presents  a  brass  corona  placed 
in  the  Baptist  Church  of  Hudson,  New  York,  by  Mr  Elihu  Gifford,  in  memory  of  Eliza  R. 
Gifford,  the  mother  of  the  late  Sandford  R.  Gifford.  As  indicating  the  possibility  of  treating 
brass  in  an  original  way  and  as  a  unique  production  in  a  metal  that  is  daily  coming  more 
and  more  into  household  use  it  is  extremely  interesting.  The  lamp  was  designed  and  made 
by  Louis  C.  Tiffany  &  Co.,  the  details  of  the  design  being  by  J.  L.  Du  Pais.  This  illustration 
gives  an  excellent  idea  of  the  work,  and  it  is  only  necessary  to  add  that  the  top  dome  is 
leaded  bulls  eyes  of  dark  glass,  the  cups  of  the  lamp  below  of  opalescent  glass  in  brass 
rings,  and  the  supports  brass  tubing  twisted  so  as  to  appear  as  chains  or  metal  ropes. 

Ceramics. — The  manufacture  of  pottery  and  porcelain  has  assumed  large  propor- 
tions of  late,  particularly  at  Cincinnati  and  at  Trenton.  At  the  latter  place  the  Ott  & 
Brewer  pottery  has  been  producing  some  exquisite  fabrics,  similar  but  superior  in  texture, 
lightness,  and  translucency  to  the  Irish  Belleek  ware.  Their  designs  are  either  originals 
or  are  copied  from  well-known  and  approved  shapes.  The  illustration  given  of  their 
work  conveys  but  a  slight  idea  of  its  beauty,  which  consists  mainly  in  its  color  and  its 
quality  as  a  fabric.  The  Matt  Morgan  Pottery  Co.  also  has  shown  some  excellent  work 
recently. 

Harry  Chase. — The  marine  subject  given  by  the  artotype  process  is  by  this  artist 
— very  well  known  as  a  marine  painter.  He  is  a  native  of  Vermont,  and  has  contributed 
often  to  the  Salon  and  the  National  Academy,  His  coast  marines  and  incidental  subjects 
taken  from  fisher  life  are  particularly  natural  and  agreeable. 


Clarke  Exhibition. — An  exhibition  of  works  by  exclusively  American  artists,  be- 
longing to  Mr.  Thomas  B.  Clarke,  opened  on  December  28th  and  closed  on  January  12th. 
It  was  held  for  the  benefit  of  a  permanent  fund  for  a  prize  to  be  given  annually  hereafter 
for  the  best  American  figure  composition  shown  at  the  National  Academy  of  Design. 
This  exhibition  was  of  peculiar  interest  to  American  artists  and  buyers  of  American 
pictures.  Mr.  Clarke  had  already  won  an  enviable  reputation  in  art  circles  as  an  appreciator 
and  able  judge  of  good  native  work,  and  the  exhibition  of  pictures  purchased  by  him  from 
the  artist's  studios,  afforded  an  opportunity  of  observing  the  growth  of  the  reaction  now 
taking  place  among  picture-buyers  in  favor  of  home  productions.  The  excellent  taste,  too, 
seen  to  have  been  shown  by  Mr.  Clarke  in  the  selection  of  his  pictures  undoubtedly  exerted 
great  influence  upon  the  large  body  of  potential  buyers,  lacking  only  proper  guidance  to 
become  important  factors  in  the  development  of  American  art.  The  collection  consisted  of 
one  hundred  and  forty  works  in  the  departments  of  landscapes,  figure  compositions, 
marines  and  still-life  subjects.  Mr.  Clarke  is  particularly  interested  in  the  development  of 
American  figure-painting,  and  it  was  natural  for  this  reason  that  the  special  feature  of  the 
exhibition  should  be  the  large  number  of  excellent  figure-subjects. 

Three  of  Charles  Frederick  Ulrich's  realistic  and  carefully  painted  compositions.  The 
Glassblowers,  An  Amateur  Etcher,  Carpenter  at  Work,  were  noticeable  not  only  for  their 
admirable  technical  qualities,  but  as  examples  of  thoroughly  American  subjects.  C.  D. 
Weldon's  Dreamland,  which  represented  a  little  girl  asleep  on  a  sofa,  clasping  her  doll  in 
her  arms,  visited  in  her  dreams  by  an  exquisitely  humorous  procession  of  Japanese  dolls,  was 
one  of  the  gems  of  the  exhibition,  showing  as  it  did  a  delicate  sense  of  the  grotesque  rarely 
found  among  American  artists.  W.  T.  Smedley's  figure  subjects,  The  Weekly  Mail  and  Em- 
barrassment, ofifered  thoroughly  American  types  of  character,  combined  with  regard  to  a  lead- 
ing idea  and  excellent  in  respect  to  technical  execution.  Edwin  H.  Blashfield's  Music,  a  his- 
torical genre,  showed  a  young  court  dame  playing  a  mandolin  on  a  marble  terrace,  while  two 
gallants  listen  to  her  as  they  peer  at  her  over  the  high  wall.  The  costumes  were  of  the  Louis 
XIII.  period.  Two  landscapes  by  William  Bliss  Baker  were  in  his  best  and  most  characteris- 
tic vein.  Robert  Blum's  Toledo  Water  Carriers  was  remarkable  for  its  truthful  local  color. 
Frank  M.  Boggs  was  represented  by  a  spirited  marine,  a  view  off  the  French  coast.  An  In- 
dian subject  by  George  De  F.  Brush  as  well  illustrated  the  best  manner  of  that  artist  as  did  A 
Merry  Air  and  A  Sad  Heart  that  of  J.  G.  Brown.  Mr.  Clarke  in  this  collection  of  pictures 
displayed  a  catholicity  of  taste  which  spoke  volumes  in  favor  of  his  critical  and  appreciative 
faculty. 

Bruce  Crane. — ^The  illustration  given  by  Mr.  Crane  is  hardly  a  fair  example  of  his 
work,  which  has  a  peculiarity  of  its  own  that  black  and  white  cannot  interpret.  Mr. 
Crane's  pictures  have  a  pronounced  individuality,  delightful  freshness,  and  the  actual  sen- 
timent of  nature.  Of  no  school,  to  be  compared  with  no  well-recognised  class,  he  paints 
boldly  and  well.  Neither  a  realist,  nor  impressionist,  nor  idealist,  it  is  difficult  to  describe 
his  manner,  unless  it  be  that  of  freshness  and  vigor.  Unhesitatingly  he  uses  the  most 
brilliant  greens  and  dazzling  blues,  side  by  side  in  large  masses,  and  the  result  is  good. 
His  success  as  an  artist  is  one  of  merit. 

Julia  Dillon.— At  the  larger  art  exhibitions  visitors  invariably  have  their  attention 
arrested  by  some  strong  flower  paintings  that  are  brilliant  in  hues,  admirably  drawn,  and 
composed  with  a  fine  appreciation  of  the  effect  of  large  masses  of  colors.     This  descrip- 


tion  applies  to  the  work  of  Mrs.  Julia  Dillon,  a  flower  artist  of  marked  ability,  who  is 
distinguished  as  an  American  painter,  and  who  very  properly  contributes  the  flower  example 
reproduced  by  the  artotype  process. 

J.  L.  Du  Fais. — The  firm  of  Louis  C.  Tiffany  &  Co.  has  prospered  uncommonly  well. 
Not  many  years  ago  the  important  work  of  decorating  interiors  with  a  view  to  the  proper 
arrangement,  ornamentation  and  furnishing  of  rooms  in  every  detail  of  woodwork,  textiles 
used,  coloring  and  objects  introduced,  was  exclusively  in  the  hand  of  commercial  houses 
that  made  few  if  any  pretensions  to  an  art  knowledge.  When  the  artists  began  to  appreciate 
that  this  kind  of  design  presented  a  dignified  and  important  field  for  art  work,  Mr.  Tiffany 
was  among  the  first  to  catch  the  idea,  and  acting  upon  it,  his  financial  success  at  once 
was  assured.  To  his  assistance,  however,  he  called  a  number  of  artists.  Among  these  was 
Mr.  Du  Fais,  who  designed  the  memorial  brass  corona  that  is  illustrated.  Mr.  Du  Fais  is 
by  profession  an  architect,  and  skilled  in  the  practical  details  of  house  construction,  besides 
his  training  as  colorist,  draughtsman  and  decorator.  Mr.  Du  Fais  studied  under  H.  H. 
Richardson,  John  La  Farge,  and  McKim,  Mead  &  White  before  making  an  engagement 
with  Mr.  Tiffany. 

ROSINA  Emmet. — The  design  for  the  curtain  illustrated  as  an  example  of  art  needle- 
work is  by  Miss  Emmet,  who  began  five  or  six  years  ago  as  an  amateur  painter  on  pottery 
and  has  since  then  by  diligent  study  and  improving  native  talents  become  an  easel  artist  of 
distinction.  Her  work  has  appeared  in  the  Academy  and  the  Society  of  American  Artists 
Exhibitions  and  if  her  future  is  to  be  judged  by  her  accomplishments  today  she  will  earn 
enduring  fame. 

Etching. — As  an  example  of  etching  a  plate  has  been  made  by  Mr.  Will  H.  Low 
for  the  Art  Year-book  and  is  submitted  for  criticism  on  its  merits.  Etching  as  an  art  has 
attracted  the  attention  of  late  of  most  of  the  prominent  artists,  and  exhibitions  are  held 
regularly  each  year  in  connection  with  the  annual  display  of  the  Water  Color  Society. 
The  most  important  etching  publication  that  is  issued  is  the  portfolio  by  Mess.  Cassell 
&Co. 

Grolier  Club. — In  the  spring  a  new  club  was  formed  at  New  York  having  for  its  object 
the  literary  study  and  promotion  of  the  arts  entering  into  the  production  of  books.  It  was 
entitled  the  Grolier  Club  after  the  famous  French  bibliophile,  bookbinder  and  statesman  of 
the  sixteenth  century,  Jean  Grolier,  a  name  pregnant  with  significance  for  every  book  con- 
noisseur. The  influence  it  is  expected  to  exert  is  great.  Already  it  has  a  membership  of 
about  seventy,  both  resident  and  non-resident,  and  held  an  initial  exhibition  of  etchings  in 
May,  at  which  were  shown  many  valuable  prints  by  Durer,  Rembrandt,  Meryon,  Millet  and 
contemporary  etchers.  In  the  near  future  it  proposes  to  publish  books  as  models  of  con- 
struction.   The  president  is  Mr.  Robert  Hoe,  Jr.,  the  vice-president  Mr.  Brayton  Ives. 

Frank  Fowler. — Mr.  Fowler's  painting  is  as  remarkable  for  its  versatility  as  for  its 
seriousness  and  external  brilliancy.  He  has  distinguished  himself  in  landscape,  in  figure  sub- 
jects, in  decorative  composition,  and  as  a  portrait  painter  he  has  attained  a  position  second 
to  no  artist  in  America.  One  of  his  earliest  portraits  was  a  full-length,  lifesize  figure  of  a 
gentleman  seated  in  an  easy  pose  holding  a  cigar.    This  work  was  remarkable  for  its  lifelike 


effect.  Excellent  as  was  the  technique  of  the  work,  the  individuality  of  the  subject  was  so 
strongly  brought  out  that  the  artistic  qualities  were  entirely  subordinated  to  the  sense  of  the 
presence  of  the  sitter.  There  are  few  American  portrait  painters  to  whom  this  highest  praise 
can  be  awarded,  and  few  who  have  the  courage  joined  to  the  ability  to  merge  their  method 
and  their  style  in  the  personality  of  their  subject.  This  is  especially  true  of  the  younger 
artists  as  a  class.  They  show  a  mastery  of  technique  and  a  keen  sense  of  pictorial  effect  in 
their  portrait  work,  but  regarded  purely  as  portraits,  their  productions  are  seldom  satisfactory. 
An  admirable  example  of  this  artist's  work  in  portraiture  is  At  the  Piano,  that  is  presented 
in  this  volume  by  the  albertype  process,  a  lifesize,  nearly  full-length  figure.  One  fancies  from 
the  ease  of  her  pose  and  the  vivacity  of  her  expression  that  she  has  just  finished  playing  and 
has  turned  on  the  piano  stool  to  face  an  impromptu  audience.  This  charm  of  seizing  a  fleet- 
ing attitude  or  expression  and  fixing  it  on  canvas  is  peculiar  to  Mr.  Fowler's  portrait  work. 
The  technique  of  this  portrait  leaves  nothing  to  be  desired.  The  modeling  of  the  bare  arms 
is  masterly  and  the  arrangement  of  the  masses  of  black  and  white  which  form  the  color  scheme 
of  the  figure  is  such  as  to  produce  a  satisfying  sense  of  artistic  proportion  upon  the  mind  of  the 
spectator.  In  an  entirely  different  line  of  portraiture  was  Mr.  Fowler's  charming  half-length 
of  Madame  Helena  Modjeska,  painted  last  spring.  It  was  at  once  a  portrait  and  a  picture. 
It  represented  the  actress  with  her  back  half  turned  to  the  spectator  and  her  face  in  profile 
against  a  light  background.  The  costume,  which  was  that  of  Rosalind  in  As  You  Like  It, 
was  of  pale  green  silk  with  white  sleeves  painted  in  delicate  colors,  repeating  the  background. 
A  large  white  feather  fan  and  part  of  a  white  fur  rug  were  used  as  accessories.  The  taste  of 
this  work  was  perfect.    It  was  admirable  as  a  portrait  and  as  a  picture  simply  exquisite. 

A.  B.  Frost. — The  sub-title  page  introducing  Artists'  Autographic  Sketches  was  de- 
signed by  Mr.  Frost,  known  to  the  public  mainly  by  his  illustrations  in  the  periodicals. 
His  subjects  are  taken  usually  from  contemporary  scenes  and  he  has  the  faculty  of  picturing 
details  in  a  pleasing  fashion.  One  of  the  difificulties  that  all  illustrators  have  to  encounter 
is  in  presenting  facts  literally  without  a  consequent  stiffness  and  awkwardness  in  their 
drawings.  This  Mr.  Frost  avoids  by  his  skill  in  composition,  his  free  method  of  using  pen 
or  pencil  and  his  keen  sense  of  humor  which  frequently  is  enlisted  by  him  to  add  a  touch  of 
lightness  to  otherwise  severe  subjects.  In  designing  title  pages  or  other  book  ornamentation 
he  has  as  yet  had  but  little  practice,  but  with  the  increasing  demand  for  such  effort  it  is  to 
be  hoped  that  he,  with  others,  will  be  called  upon  to  engage  in  such  work  with  a  view  to 
rivaling  the  exquisitely  dainty  productions  of  the  French  bookmakers. 

Furniture. — The  illustration  of  a  drawing-room  cabinet  is  from  the  works  of  Keeler 
&  Co.,  Washington  to  Boston,  Mass.,  and  is  presented  as  a  noteworthy  product  of  this 
house,  which  makes  high  class  work  for  the  trade  a  specialty,  besides  reduplicated  furniture. 
It  is  about  six  feet  high  by  four  wide,  and  composed  of  solid  St.  Domingo  mahogany 
finished  dark  and  highly  polished.  Its  decoration  consists  of  cai-vings  and  the  ornaments 
traced  on  the  silvered,  beveled  mirror.  The  brass  ornaments,  which  are  used  sparingly,  are 
all  hand  made,  and  add  greatly  to  the  general  effect.  Its  simplicity  and  richness  of  work, 
and  graceful  artistic  lines  and  forms,  recommend  it  as  a  worthy  addition  to  the  art  furniture 
product  of  1884. 

W.  Hamilton  Gibson. — All  readers  of  Harper's  and  Century  for  the  past  few  years 
remember  the  series  of  pictures  from  nature  in  which  flowers,  birds,  foliage,  wood  and  pas- 


ture  have  been  treated  with  so  much  sympathetic  tenderness  and  artistic  grace.  Their 
author  has  been  Mr.  Gibson,  who  also  is  the  designer  of  the  card  presented  in  this  Year- 
book as  an  example  of  art  chromo-lithography.  He  is  a  frequent  contributor  to  the  exhibi- 
tions, his  pictures  as  a  rule  being  landscapes. 

Geo.  R.  Halm. — The  title  page  is  the  work  of  Mr.  Halm,  a  professional  designer  of 
decorations  for  books.  To  this  branch  of  art  he  was  one  of  the  first  to  give  attention  and 
in  it,  as  a  specialty  in  connection  with  other  work,  his  reputation  is  growing  rapidly.  From 
memoranda  supplied  by  him — an  effort  was  made  when  too  late  to  secure  similar  notes  from 
all  contributors  to  the  Year-book — it  is  learned  that  he  was  born  at  Ogdensburg,  September 
1st,  1850.  He  studied  wood  engraving  under  A.  V.  S.  Anthony,  and  went  with  him  to 
Boston,  remaining  until  the  end  of  1873  when  he  came  to  New  York  to  accept  an  engage- 
ment with  Frank  Leslie,  and  since  then  has  been  designing  for  various  publishing  houses. 
This  year  he  established  himself  permanently  in  a  New  York  studio.  In  illustrating  Mr. 
Halm's  reputation  rests  on  ornamental  book  covers  or  titles  such  as  Lead  Kindly  Light,  for 
Roberts  Bros,  and  covers  for  Sport  with  Rod  and  Gun,  Century  Co.  and  covers  to  Gil- 
bert's Shakespeare,  for  Geo.  Routledge  &  Co.,  London.  He  has  exhibited  at  the  Sal- 
magundi Club,  the  New  England  Institute,  the  Paris  Exposition  of  1878,  the  Chilian  Exhibi- 
tion, and  elsewhere,  and  is  prominent  as  a  member  of  several  art  clubs. 

Interior  Decoration. — The  progress  made  by  American  artists  in  the  department  of 
interior  decoration  during  the  year  has  been  remarkable.  Opportunities  for  doing  good  work 
of  the  kind  are  every  year  becoming  more  abundant  as  public  taste  is  being  educated  to  ap- 
preciate the  advantages  and  artistic  value  of  mural  adornment.  The  most  important  work  of 
the  kind  executed  or  exhibited  during  the  year  were  Francis  Lathrop's  decorations  for 
the  Opera  House  at  New  York,  A.  A.  Anderson's  large  ceilings  and  wall-decorations 
executed  for  Mr.  Osborne  and  Mr.  Quintard,  and  Edwin  H.  Blashfield's  triple  ceiling, 
painted  for  Mr.  Twombly.  These  works  offer  examples  of  three  different  decorative  manners. 
They  are  alike  in  ideality  of  subject  and  composition,  but  in  technique  and  treatment  each 
offers  a  distinct  individuality.  Mr.  Lathrop's  decorations  show  the  idealisation  of  material 
forces,  such  as  the  products  of  the  earth  and  sea,  treated  in  a  broad,  vigorous  and  robust 
manner.  They  are  solidly  handled  and  possess  a  depth  of  color  and  tone  which 
is  in  perfect  harmony  with  the  conceptions  of  the  different  subjects.  The 
compositions  show  excellent  sense  of  appropriateness  on  the  part  of  the 
artist,  being  perfectly  in  harmony  with  the  purpose  for  which  they  are  intended, 
namely,  the  decoration  of  a  large  public  dining-room.  Mr.  Anderson's  large  compositions  are 
graceful  in  subject  and  sentiment,  and  are  treated  with  corresponding  delicacy.  They  are 
charming,  poetic  conceptions,  in  which  young  goddesses,  nymphs  and  cherubs,  with 
bacchantes  and  their  joyous  followers,  disport  themselves  among  rosy  clouds  or  masses  of 
verdure  and  in  those  vague,  indefinite  regions  which  are  one  of  the  conventions  of  decora- 
tion, and  yet  are  always  so  fresh  and  so  dear  to  the  imagination,  with  their  effects  of  celes- 
tial distance.  Mr.  Blashfield's  large  triple  ceiling,  consisting  of  a  circular  composition  and 
two  oblong  side  panels,  was  a  work  of  ideal  beauty.  The  large  group  representing  a  youth- 
ful, half-draped  female  figure  reclining  on  clouds,  upborne  by  a  number  of  cherubs,  was  ex- 
quisite in  idea,  treatment,  color  and  execution.  The  side-panels  left  little  to  be  desired  either 
in  sentiment  or  technique,  and  as  a  whole  this  series  of  compositions  was  a  credit  to  Ameri- 


can  decoration.  The  exceptional  delicacy  of  these  works  was  one  of  their  chief  characteris- 
tics, and  their  idea  of  decorative  fitness  was  consistently  carried  out  in  detail. 

Iron  Work. — The  industry  of  ornamental  wrought  iron  work  is  one  to  which  corsidcr- 
able  attention  has  been  given  recently  in  the  manufacturing  world  ;  still  it  may  be  fairly  said, 
that  in  no  country  does  a  trained  school  of  blacksmiths  exist  in  the  present  day,  as  at  the 
Renaissance  period,  or  even  at  as  late  a  time  as  the  last  century.  The  principal  difficulty  to 
contend  with  in  the  recent  revival  in  this  country  and  in  England  is  the  tendency  to  mechani- 
cal workmanship.  This  spirit  of  accurate  machine  building  has  so  imbued  the  iron  worker 
that  it  is  a  considerable  check  to  the  development  of  the  artistic  impulses  of  the  nintccnth 
century  blacksmith.  Some  modern  examples  of  simple  subjects  of  general  domestic  interest 
are  seen  in  andirons  illustrated  in  this  Art  Year-book.  Whatever  excellence  they  may  have 
will  be  duly  appreciated.  They  certainly  are  a  successful  attempt  toward  freedom  of  work- 
manship and  show  a  decided  breaking  away  from  the  painful  preciseness  so  generally  preva- 
lent. 

Jewelry. — Great  advances  in  artistic  design  and  execution  have  been  made  during  the  year. 
Our  jewelry  may  now  be  said  to  equal  any  in  the  world  for  purity  of  style,  originality  of  ideas 
and  quality  of  workmanship,  and  no  better  work  is  produced  than  that  of  Theodore  B.  Starr. 
The  examples  that  are  published  of  recently  executed  designs  are  convincing  proofs  of  the 
right  of  American  jewelry  to  claim  equality  with,  if  not  superiority  over,  European  work  of 
the  same  kind.  Nothing  could  be  more  charming  in  effect  and  at  the  same  time  more  ad- 
mirably simple  in  composition  than  the  large  pearl  pendant.  The  design  of  star  and  crescent 
shows  excellent  arrangement  of  line  and  masses  of  color,  qualities  as  valuable  in  the  jeweler's 
as  in  the  painter's  art.  The  three  crescents  show  artistic  treatment  of  forms  difficult  to  com- 
pose symmetrically.  The  dragon-fly  so  appropriately  formed  of  small  brilliant  stones  is  a 
delicate  and  graceful  piece  of  work,  and  in  the  spray  at  the  foot  of  the  page,  the  designer  has 
made  excellent  use  of  natural  vegetable  forms. 

Elbridge  Kingsley. — One  of  the  wood  engravers  who  have  given  a  distinct  character  to 
American  cutting,  and  who  have  made  it  famous  throughout  the  world,  is  Mr.  Kingsley  whose 
block  The  Tragedy  of  the  Nest,  originally  printed  in  the  Century,  is  given  in  the  Art  Year- 
book as  work  that  is  as  original  in  most  respects,  as  any  wood-cut  print  that  has  appeared  of 
late.  Mr.  Kingsley  works  both  as  artist  and  as  engraver,  and  furthermore,  frequently  en- 
graves on  the  block  from  nature.  That  is,  he  sketches  on  the  block  in  the  presence  of  his  sub- 
ject, and  does  some  of  his  cutting  also.  This,  however,  is  to  be  regarded  only  as  an  incident  of 
his  work,  his  reputation  resting  upon  its  qualities  of  freedom,  vigor,  and  positiveness,  together 
with  an  individual  style  of  interpreting  textures  and  effects  of  light— particularly  the  play  of 
sunshine  and  shadow  on  clouds.  Mr.  Kingsley  this  year  began  to  cut  large  blocks  of  12x18 
inches,  selling  them  in  limited  editions  to  subscribers.  The  first  one  of  these  is  entitled.  In 
the  Harbor,  and  is  published  by  C.  Klackner. 

Francis  Lathrop. — Mr.  Francis  Lathrop  is  one  of  the  few  American  painters  who 
have  won  a  deserved  reputation  in  the  higher  departments  of  decoration.  As  a  decorative 
artist  he  stands  at  the  head  of  his  profession  and  his  achievements  in  other  branches  of 
art  have  been  altogether  creditable.  Many  public  and  private  buildings  of  Boston  and  New 
York  owe  their  admirable  decorative  schemes  to  Mr.  Francis  Lathrop  and  are  adorned  with 


figure  work  from  his  brush.  The  Bijou  theatre  at  Boston,  the  Metropolitan  Opera  House 
and  the  Hoffman  House  at  New  York,  all  have  excellent  examples  of  Mr.  Lathrop's  skill 
in  the  conception  and  execution  of  decorative  composition.  He  possesses,  primarily,  the 
decorative  instinct  in  a  high  degree  of  development,  added  to  an  excellent  technique,  a 
complete  comprehension  of  the  conditions  of  classic  form,  idea  and  sentiment,  and  a  style 
characterised  by  strength,  vigor  and  delicacy.  All  of  these  elements  of  success  in  decora- 
tion he  subordinates  to  a  fine  sense  of  the  exigencies  of  the  modern  American  idea  in  art 
as  distinguished  from  the  purely  traditional  and  conventional.  His  work  possesses  a  solidity 
of  effect  such  as  particularly  fits  it  for  the  decoration  of  American  public  buildings.  His 
designs  are  always  broad,  noble  and  dignified,  with  something  of  the  antique  serenity  in 
their  fine  proportions.  The  example  of  interior  decoration  in  the  Art  Year-book  is  by  him 
and  presents  the  chief  work  in  the  Metropolitan  Opera  House. 

Lithography. — It  is  difficult  to  determine  precisely  how  the  art  of  lithography  pro- 
gresses each  year,  so  much  depending  for  pleasing  results  by  its  agency  upon  the  subjects  of  re- 
production and  the  artist's  work  on  the  original.  In  the  United  States,  however,  we  have 
two  distinct  varieties  of  lithography  with  regard  to  the  ultimate  purpose  of  the  prints — the  fine 
art  and  the  commercial.  In  the  former,  L.  Prang  &  Co.'s  productions  easily  surpass  all  com- 
petitors, and  the  card  presented  in  this  volume  may  be  taken  as  an  excellent  fac-simile  work 
in  about  twenty  printings.  Besides  this  and  other  gift  cards,  L.  Prang  &  Co.  have  issued  a 
number  of  satin  prints  reproducing  both  figure  and  flower  subjects.  Chief  among  them  are 
those  after  originals  by  F.  S.  Church  and  by  Jean  Robie.  In  commercial  lithography  great 
advances  have  been  made  by  the  Forbes  Company  of  Boston,  and  the  Strobridge  Company  of 
Cincinnati,  in  making  theatrical  bills  for  advertising  on  street  boardings.  Some  of  these  are 
excellent  in  drawing,  coloring,  action,  and  composition.  In  smaller  work,  Donaldson  Bros., 
of  New  York,  have  made  a  success  of  some  dodgers  that  take  for  their  subject,  young  women 
with  attractive  faces,  pretty  feet,  ankles,  arms,  and  hands. 

Will  H.  Low. — The  admirable  etching  published  as  an  example  of  the  art  is  by  Mr. 
Low  after  his  painting  Narcissa  that  hung  in  the  Society  of  American  Artists'  Exhibition,  and 
which  is  now  owned  by  Mr.  Fletcher  Harper.  Though  this  is  but  the  second  etching  by  Mr. 
Low,  it  has  many  excellent  qualities,  particularly  that  of  careful  modeling,  the  difificulty  of  ob- 
taining which,  particularly  in  such  subjects  as  the  one  he  has  taken,  is  well  known  to  every 
etcher.  As  an  etcher  of  great  promise — and  of  high  achivement  in  this  instance — Mr.  Low 
may  be  regarded.  His  work  heretofore  has  been  painting,  in  which,  by  comparatively  few 
works,  he  is  distinguished  already.  Arcades  is  his  contribution  to  the  New  England 
Institute  exhibition  this  year.  Narcissa  was  painted  for  this  year's  exhibition  of  the  Society 
of  American  Artists  and  to  the  National  Academy  he  sent  Telling  the  Bees. 

Metal  Castings. — In  these  days  of  deception  in  the  production  of  real  antiques, 
bric-h-brac  and  curios,  it  is  refreshing  to  know  there  is  an  artistic  feeling  among  our 
large  metal  workers  to  reproduce  from  originals  those  things  that  are  of  known  value.  One 
of  the  leading  houses  in  America,  The  Magee  Art  Casting  Co.,  of  Chelsea,  Mass.,  has 
during  the  past  year  devoted  considerable  money  and  time  in  reproducing  the  best  available 
pieces  of  old  German,  Japanese  and  French  objects  in  armor  and  odd  bits,  and  always  with 
remarkable  success,  not  only  in  smoothness  of  finish,  but  in  tone  and  color  as  well.  The 


work  is  under  the  persona  supervision  of  one  of  the  oldest  platers  in  this  country,  Mr.  C. 
G.  Pendleton,  who  has  had  such  facilities  afforded  him  that  he  is  enabled  not  only  to 
reproduce,  but  to  originate  and  design  new  and  important  works.  Outside  talent  has 
been  secured,  and  such  artists  as  St.  Gaudens  and  Vedder  have  contributed  designs  for 
decorative  fire  backs  and  hanging  portraits,  dados,  friezes,  centre  pieces,  mantels,  andirons 
and  other  household  fixtures  in  copper,  old  and  new  brass  and  iron  finish,  all  having 
been  treated  in  a  very  effective  manner  as  regards  the  high  lights  and  general  relief.  Mr. 
Pendleton  has  succeeded  in  imitating  the  Japanesque  by  introducing  the  various  metals 
on  one  surface. 

J.  A.  Mitchell. — In  England  and  continental  Europe,  there  has  existed  for  many  years 
a  marked  fancy  for  pen  and  ink  sketches  of  a  comic  cast.  Punch,  the  Sporting  and  Dramatic 
Times,  Journal  pour  Rire,  Journal  Amusant,  La  Vie  Parisienne,  and  Fliegende  Blatter  have 
for  many  years  had  a  strong  constituency  of  subscribers,  and  their  artists — Du  Maurier,  Lin- 
ley  Sanbourne,  Tenniel,  Mars,  Grevin  and  others — have  a  world  wide  reputation.  A  little  less 
than  two  years  ago,  the  same  kind  of  publication  was  for  the  first  time  successfully  attempted  in 
this  country  by  Mr.  J.  A.  Mitchell  who  brought  Life  into  existence.  As  an  interesting  ex- 
ample of  his  work,  an  original  drawing  by  him  is  given  in  the  Art  Year-book.  And  though  Mr. 
Mitchell  is  an  artist  of  ability  in  this  special  field,  his  attainments  reach  farther  in  his  having 
achieved  a  name  as  an  etcher  and  easel  artist  long  before  he  began  Life.  To  that  publication 
however,  most  of  his  time  is  given  now,  and  it  is  doing  more  than  any  other  periodical  to  train 
and  develop  a  number  of  really  excellent  artists  in  the  difficult  work  of  black  and  white  pen 
drawing.  The  daily  papers  that  have  begun  of  late  to  illustrate  lavishly,  have  cause  in  this 
regard  to  be  grateful  to  Mr.  Mitchell,  for  when  the  time  comes  for  them  to  abandon  the  prac- 
tice of  extracting  all  their  witty  drawings  from  foreign  papers,  the  artists  who  contribute  to 
Life  will  be  ready  to  give  them  a  supply  of  good  drawings  which  before  they  might  have  sought 
in  vain. 

Edward  Moran. — One  of  the  most  striking  works  in  the  National  Academy  exhi- 
bition was  the  pure  marine  entitled  the  Sea,  by  Edward  Moran.  Easily  it  was  the  best 
marine  in  the  collection,  and  possibly  the  best  of  the  year,  for  which  reasons  it  is  selected 
for  reproduction  by  the  heliotype  process.  Mr.  Moran  is  one  of  a  family  of  artists,  all  of 
whom  have  attained  distinction.  His  career,  however,  has  been  one  of  serious  endeavor 
and  continuous  work.  Born  at  Bolton,  England,  1829,  he  came  to  America  in  1844,  and 
began  to  study  under  James  Hamilton  and  Paul  Weber  at  Philadelphia.  First  exhibited 
at  Pennsylvania  Academy  in  1852.  Elected  Academian,  1862.  Went  to  Europe  same 
year.  Studied  at  National  Gallery,  London.  Returned  to  America  in  1863.  Painted  several 
large  pictures  bought  by  Philadelphians.  His  first  important  picture  was,  What  are  the 
Wild  Waves  Saying. 

Leon  Moran. — This  clever  young  painter,  who  has  attained  a  distinct  individuality  at 
an  age  when  American  artists  generally  are  just  beginning  to  study  drawing,  may  be  classed 
as  one  of  the  strongest  men  of  the  new  art  generation.  With  the  exception  of  one  year's 
study  in  France  Mr.  Moran  has  worked  exclusively  in  America  and  under  American  influ- 
ences. His  pictures  show  a  happy  assimilatiou  of  French  and  American  qualities.  He 
has  the  brilliancy,  sparkle,  audacity  and  chic  of  a  Frenchman.  His  skill  of  technique  and 
artistic  conscientiousness  are  also  Gallic,  but  mingled  with  these  qualities  is  a  strain  of 


American  originality,  self-reliance  and  independence.  While  that  year  of  French  study 
has  been  a  strong  influence  in  the  development  of  this  young  artist's  personality,  it  has  not 
made  him  in  a  full  sense,  imitative.  A  sense  of  original  individuality  is  the  impression 
given  by  his  brilliant,  dashing  little  works.  Whether  the  subject  be  a  French  peasant  girl, 
an  American  rural  scene,  a  charming  Directoire  maiden  or  a  last  century  cavalier,  the  same 
qualities  of  fresh,  youthful  61an  and  buoyant  joyousness  are  found  in  all.  It  is  work  done  in 
a  holiday  mood  that  belongs  to  youth  alone  but  none  the  less  is  it  serious,  earnest  work 
which,  while  giving  unusual  satisfaction  in  itself,  is  still  more  valuable  as  promising  magnifi- 
cent results  for  the  artist's  maturity. 

Percy  Moran. — This  young  painter,  whose  works  are  seen  in  most  of  the  important 
exhibitions,  offers  a  singular  instance  of  rapid  and  symmetrical  artistic  development.  Mr. 
Moran  studied  for  three  years  in  France,  and  this  experience,  joined  to  a  remarkable  in- 
tuitive faculty,  has  given  his  work  that  peculiarly  artistic  quality  which  forms  one  of  its 
salient  characteristics.  In  looking  at  one  of  Mr.  Moran's  admirable  productions,  the  spec- 
tator is  first  of  all  impressed  by  the  feeling  that  he  is  an  artist,  as  distinguished  from  a 
mere  painter,  and  an  artist  to  his  finger-tips.  He  is,  moreover,  an  excellent  workman.  The 
charming  bits  of  historical  genre  of  foreign  peasant-life,  of  American  character,  the  innu- 
merable heads  and  figures  of  pretty  women,  are  as  carefully  studied  and  conscientiously 
painted  as  if  they  were  other  than  the  gay  and  sparkling  utterances  of  a  healthy,  youthful, 
artistic  nature.  There  is  something  French  in  this  union  of  solid  workmanship  with  the 
brilliant  scintillations  of  a  young,  self-confident  talent.  Mr.  Moran's  work  has  in  it  the 
promise  of  indefinite  progression.  One  would  not  be  surprised  if  in  the  course  of  a  few 
years  the  reputation  which  he  has  won  already  as  a  painter  of  exceptional  cleverness 
within  a  certain  range  should  be  replaced  by  one  of  national  artistic  importance. 

J.  Francis  Murphy. — A  representative  personality  in  American  landscape  art  is  that  of 
J.  Francis  Murphy.  His  subjects,  his  education  and  development,  his  feeling  and  sentiment, 
are  all  purely  American.  Few  landscape  painters  unite  so  much  personal  style,  so  much 
individuality  of  expression,  with  so  keen  an  insight  into  the  subtler  phases  of  nature,  and 
so  truthful  a  rendering  of  her  most  airy  and  evanescent  moods.  Mr.  Murphy's  works  are 
not  only  pictures,  but  poems  and  modern  poems,  in  which  a  dainty  embroidery  of  fantasy 
and  conceit  is  woven  upon  a  simple  theme.  A  bit  of  sere  grass,  a  patch  of  hillside,  a 
space  of  low  undergrowth,  is  the  only  motive  required  by  this  artist  for  the  production  of 
an  exquisite  creation  of  form,  color  and  tone  which  epitomises  the  natural  experiences  of 
an  entire  autumn  or  spring  day.  The  pathetic  side  of  nature,  the  joyous  sadness  of  the 
minor  key  in  art  are  by  him  translated  into  tangible  appearances. 

Artistic  Needlework. — The  past  year  has  seen  progress  in  the  line  of  artistic 
needlework,  a  branch  of  art-expression  which,  in  its  revived  form,  has  taken  upon  itself  a 
purely  American  character.  American  artistic  needlework  is,  in  its  higher  phases,  now  recog- 
nised as  the  equal  of  that  produced  by  any  European  country,  and  in  some  respects  supe- 
rior. In  the  pictorial  quality,  as  distinguished  from  the  technical  or  mechanical,  it  has  few 
equals.  It  subordinates  the  vehicle  of  expression  to  the  idea  to  be  expressed,  thus  consist- 
ently justifying  the  employment  of  the  word  artistic  to  describe  its  ulterior  ends.  For 
beauty  of  execution,  for  delicacy  and  harmony  of  color  and  form,  for  originality  and  grace 


of  design,  for  exquisite  discretion  and  choice  as  regards  the  combination  of  materials, 
American  artistic  needlework  is  unsurpassed  even  at  its  present  stage  of  development. 
What  results  it  may  eventually  achieve,  keeping  pace  in  its  progress  with  the  art-develop- 
ment of  the  country,  can  be  readily  imagined.  Another  peculiarity  of  American  work 
in  this  department  is  its  freedom  from  conventionality.  It  prescribes  no  laws,  lays  down 
no  rules,  establishes  no  arbitrary  system  of  technique.  Its  only  condition  is  the 
adaptation  of  technical  means  to  artistic  ends.  It  aims  at  presenting  pictures  in 
needlework  instead  of  in  oil  or  water-color  and  handles  the  materials  as  a  painter 
handles  his  brush.  Admirable  examples  of  recently  executed  work,  well  illustrating  the 
principles  of  the  art  as  practiced  in  America,  were  seen  in  the  loan  collection,  held  last 
winter.  They  reflected  much  credit  upon  the  Associated  Artists  of  New  York  of  whom 
Mrs.  Wheeler  is  the  head.  Especially  noticeable  was  the  set  of  wall-hangings  eleven  in 
number,  executed  for  Mr.  Vanderbilt.  They  were  exquisite  in  design,  representing  cupids. 
Undine,  Psyche,  creatures  of  sea  and  air,  garlands  of  flowers,  clouds,  vapors,  and  waves.  Other 
needlework  pictures,  produced  by  the  Associated  Artists  were  shown  in  the  same  exhibition, 
which  as  a  whole,  well  epitomised  the  present  results  of  the  practice  of  the  art  in  America,  and 
by  the  appreciation  it  received,  and  the  opportunity  it  afforded  of  studying  advanced  technical 
methods  did  much  to  stimulate  the  zeal  of  other  workers  in  the  same  direction.  Admirable 
results  in  artistic  needlework  were  produced  during  the  year  by  Miss  Jennie  Brush  and  Miss 
Tillinghast.  Mrs.  Oliver  Wendell  Holmes,  Jr.,  added  to  her  already  enviable  reputation  with 
several  pictorial  compositions,  beautifully  designed  and  executed,  and  scarcely  distinguishable 
from  the  work  of  the  brush.    The  example  illustrated  is  by  the  Associated  Artists. 

Rhoda  Holmes  Nicholls. — Mrs.  Nicholls  is  one  of  the  few  distinguished  women- 
artists  of  New  York,  having  made  a  reputation  for  herself  by  the  local  truth,  freshness  of 
color  and  atmospheric  subtlety  of  her  Venetian  subjects.  On  the  Zattere,  Venice,  shown 
in  the  last  exhibition  of  the  Society  of  American  Artists  and  illustrated  in  this  Year-book, 
united  all  these  qualities  in  a  remarkable  degree,  combined  with  a  certain  spontaneity  of 
impression  rarely  met  with  in  the  work  of  any  artist.  The  serene  and  sunny  moods  of  the 
sea-city  have  seldom  found  a  more  appreciative  interpreter.  The  peculiar  quality  of  sunlight 
associated  with  Venice,  the  singular  transparency  of  atmosphere,  and  the  striking  contrasts 
of  color  harmonised  by  the  softness  of  the  lagune  mists  have  probably  never  been  transferred 
to  canvas  with  more  skill. 

Walter  L.  Palmer. — As  one  of  the  most  notable  works  in  the  New  York  Water- 
Color  exhibition,  The  Student,  by  Mr.  Palmer,  is  reproduced  for  the  Art  Year-book  by  the 
phototype  process.  Mr.  Palmer  was  born  at  Albany,  N.  Y.,  August  1st,  1854,  and  is  the 
son  of  E.  D.  Palmer,  sculptor.  He  studied  under  Frederick  E.  Church  in  1870  and  1871, 
and  exhibited  first  at  National  Academy  of  Design  in  1871.  Studied  abroad  mostly  in 
Paris  under  Carolus  Duran,  1873-74,  and  worked  in  Paris,  in  1876-7.  Was  elected  member 
of  Society  of  American  Artists  in  1881,  at  whose  exhibition  that  year  his  picture  Sunlight 
received  the  highest  vote  of  all  pictures  submitted  to  jury.  At  the  Society  of  American 
Artists'  exhibition  his  picture  An  Oatfield  received  the  third  highest  vote  of  the  600  pictures 
submitted.  His  largest  and  most  important  picture  is  Venice,  owned  by  Rev.  F.  L.  Norton, 
of  Albany. 


Paper. — It  will  be  noticed  that  several  varieties  of  paper  have  been  used  in  the  Art  Year- 
book as  required  by  the  different  kinds  of  printing.  Most  noteworthy  is  the  rough  edged 
paper  that  begins  the  volume.  This  is  a  hand-made  fabric  from  the  L.  L.  Brown  Paper  Co., 
who  are  said  to  be  the  only  makers  in  this  country  of  hand-made  papers.  Their  mill  has 
been  manufacturing  this  paper  for  about  a  year,  stimulus  being  given  by  the  introduction 
of  limited  editions,  the  supply  for  which  has  come  heretofore  from  Holland,  France  and 
England.  The  calendered  paper  is  from  S.  D,  Warren  &  Co.  The  laid  book  paper — 
exquisite  in  feel  and  texture — is  a  recent  manufacture  of  W.  C.  Hamilton  &  Sons  and 
invites  the  attention  of  all  makers  of  fine  books.  The  cover  is  Crane  parchment  bond 
and  the  etching  paper  from  Tileston,  Hollingsworth,  &  Co. 

Pastel  Exhibition. — The  society  of  painters  in  pastel  held  its  first  exhibition  in 
the  Spring  at  New  York.  It  originated  in  a  desire  felt  by  some  of  the  best-known 
American  painters  to  apply  modern  artistic  methods  to  the  valuable  medium  of  pastel  and 
to  make  of  it  a  recognised  expression  of  the  higher  pictorial  impulse.  This  progressive 
movement  received  deserved  recognition  from  the  art-world  and  the  first  exhibition  of  the 
society  met  with  unqualified  success.  Members  of  the  society,  at  the  time  of  the  exhibi- 
tion, were  Mess.  Beckwith,  Blashfield,  Blum,  Jones,  Miller  and  Ulrich.  The  productions 
of  these  gentlemen  with  a  few  works  from  artists  invited  to  contribute  formed  the  exhi- 
bition which  opened  on  March  17th.  With  few  exceptions,  the  painters  represented 
showed  that  they  had  a  mastery  over  the  medium  and  displayed  tact  in  adapting  it  to 
the  exigencies  of  the  modern  artistic  idea.  In  some  cases  it  was  observed  that  the  artist 
had  equalled  or  surpassed  all  of  his  previous  efforts  in  oil  or  water  color.  This  was  notably 
true  as  regards  Robert  Blum  who  had  never  appeared  to  better  advantage  at  any  exhibition. 
It  was  a  noticeable  fact  that  none  of  these  painters  in  pastel  employed  the  timid  and  con- 
ventional methods  commonly  associated  with  the  medium.  Each  artist  remained  true  to  him- 
self and  his  individual  bias,  and  sought  to  express  his  own  ideas  as  simply  and  directly  as  if 
he  were  working  in  oil  or  water-color,  and  the  result  was  a  brilliant  exposition  of  the  great 
artistic  value  of  the  modern  form  of  pastel-painting. 

Charles  Sprague  Pearce. — Mr.  Pearce  belongs  to  the  class  of  American  artists  who 
have  attained  a  high  position  both  in  America  and  in  France,  The  works  of  this  painter  are 
seen  as  often  in  the  Paris  Salon  as  in  the  exhibitions  of  New  York  and  Boston.  A  man  of 
serious  aims  and  lofty  ambition,  Mr.  Pearce  has  produced  numerous  works  in  a  vein  of  art  too 
often  neglected  by  Americans.  His  profoundly-studied  historical  and  Biblical  compositions, 
with  their  earnestness  of  purpose,  their  conscientious  workmanship  and  their  thoroughly 
artistic  treatment,  have  given  him  a  high  rank  among  American  painters  both  abroad  and  at 
home.  His  lighter  subjects,  such  as  scenes  and  figures  from  French  peasant  life,  are  treated 
with  due  appreciation  of  and  fidelity  to  their  individual  characteristics,  and  leave  nothing  to 
be  desired  in  point  of  technique.  One  of  his  recent  works,  the  Water-Carrier,  is  an  admirable 
example  of  one  phase  of  the  artist's  versatile  talent. 

Personal  Exhibitions. — The  most  important  personal  exhibition  of  the  year  was 
that  of  works  by  George  Inness,  which  opened  at  New  York  on  April  4th.  Among  the 
fifty-seven  works  shown  were  examples  of  all  the  different  manners  of  the  artist  from  the 
earliest  to  the  latest.  A  fine  opportunity  was  thus  afforded  for  studying  the  development 
of  this  remarkable  artistic  personality  which  is  peculiarly  /\merican  in  its  versatility,  elasticity 


and  power.  The  unusually  large  work,  Mount  Washington  from  Prospect  Hill,  and  a 
recently-painted  view  of  Niagara  Falls,  well  illustrated  the  different  phases  of  the  painter's 
talent.  The  first,  particularly,  was  remarkable  for  the  consistent  strength  and  delicacy 
shown  in  the  handling  of  so  large  a  canvas.  For  beauty  of  color  and  atmospheric  effect 
it  was  surpassed  by  nothing  in  the  exhibition.  The  other  works  were  landscapes,  with  or 
without  figures,  sunset  and  sunrise  effects  of  sky,  and  some  Italian  views.  Mr.  Inness 
showed  himself  a  master  in  the  art  of  rendering  the  higher  significance  of  American  land- 
scape, and  fixing  upon  canvas  not  only  its  external  forms,  but  the  ideal  qualities  of  color  and 
tone,  which  are  everywhere  revealed  in  nature  to  the  poetic  eye,  as  distinguished  from  mere 
objective  vision. 

Another  interesting  personal  exhibition  was  that  of  the  works  of  A.  A.  Anderson.  It 
was  held  at  New  York,  and  included  portraits,  figure-subjects,  interiors,  landscapes  and 
several  large  decorative  compositions.  A  portrait  of  a  lady  in  blue  velvet  seated  among 
rich  accessories,  showed  cleverness  in  the  management  of  a  difficult  color-scheme.  Another 
female  portrait  representing  a  lady  standing,  dressed  in  walking-costume  was  light  in  key 
and  graceful  and  pleasing  in  general  effect.  Several  male  portraits  showed  good  appreciation 
of  character  and  considerable  technical  skill.  A  large  figure -subject  entitled  Judith,  repre- 
senting a  beautiful  woman  in  the  costume  and  character  of  the  Jewish  heroine,  was  brilliant 
in  color  and  well-handled  throughout.  Some  female  heads  of  a  French  type  were  gracefully 
treated,  and  offered  agreeable  effects  of  color,  atmosphere  and  light. 

The  exhibition  of  forty-four  works  by  Birge  and  Alexander  Harrison  was  of  much 
interest  to  artists  and  the  public  generally.  It  consisted  of  landscapes,  figure  subjects, 
marines  and  peasant  interiors.  As  a  whole,  the  work  was  remarkable  for  originality,  care- 
ful study,  excellent  drawing  and  color  and  a  combination  of  artistic  individuality  and  fidelity 
to  nature.  Alexander  Harrison's  large  picture  of  a  boy  entitled  A  Little  Slave,  was  one 
of  the  features  of  the  collection.  Birge  Harrison's  Return  from  the  First  Communion, 
showing  a  sunny  meadow  with  a  little  girl  in  a  white  veil  gathering  flowers,  was  extremely 
artistic  in  conception  and  treatment,  with  fine  effect  of  sunlight.  Most  of  the  subjects 
represented  were  French,  but  the  work  of  these  young  artists  was  in  no  sense  imitative. 
One  felt  in  looking  at  their  productions  that  they  had  placed  themselves  face  to  face  with 
French  nature  or  human  life  and  had  worked  without  reference  to  what  others  had  done 
before  them.  The  gray  dreariness  of  the  French  coast  was  as  truthfully  depicted  as  the 
smiling  gaiety  of  the  French  summer  meadows,  and  the  peasant  types  which  seem  to 
have  had  peculiar  attractions  for  both  painters  could  not  demand  worthier  or  more  appre- 
ciative interpretations. 

Phototypic  Processes. — Of  the  methods  of  reproducing  in  print  photographic  views 
of  drawings,  paintings,  or  nature — four  different  varieties  are  represented  in  addition  to  the 
photo-engraving  processes.  The  Albertype  process  is  worked  in  connection  with  the  extensive 
establishment  of  the  Forbes  Lithographic  Company  at  Boston.  The  Artotype  is  a  New 
York  manufacture  and  is  to  be  credited  to  Mr.  E.  Bierstadt,  a  gentleman  at  the  head  of  his 
business  and  with  the  decided  advantage  of  having  marked  sympathy  with  art.  Heliotypes 
come  from  the  firm  of  James  R.  Osgood  &  Co.,  Boston,  which  makes  their  manufacture  a 
distinct  branch  of  work.  Phototypes  are  made  also  as  a  specialty  by  Mr.  F.  Gutekunst,  the 
well-known  Philadelphia  photographer.  These  and  kindred  processes  are  coming  into 
general  use  for  art  illustration  and  for  commercial  catalogues.  They  are  photographically 
exact  and  admit  of  charming  effects. 


Photo-Engraving  and  Zinc-Etching. — By  referring  to  titles  at  the  bottom  of  the 
illustrations  it  will  be  seen  by  what  company  each  one  of  the  relief  plates  used  in  this  book 
were  made.  Nearly  all  the  companies  in  active  operation  are  represented,  some  having 
several  plates.  The  Moss,  the  Photo-Engraving,  the  American,  the  Leslie  and  the  Kurtz 
companies,  all  are  capable  of  producing  plates  rapidly  and  well,  at  prices  much  cheaper  than 
wood-engraving.  The  Photo-electrotype  differs  somewhat  from  the  others  in  giving  a  cop- 
per face  plate  instead  of  stereotype,  is  higher  priced  and  apt  to  be  slow.  Still  its  patronage 
though  limited  is  good.  The  Ives  process  is  practised  by  the  Crosscup  and  West  Engraving 
Company,  at  Philadelphia.  By  this  means  a  relief  plate  can  be  obtained  from  any  photo- 
graph negative.  The  four  examples  given  show  architecture,  a  tapestry  and  silverware — 
all  from  the  objects  themselves.  Besides  these  is  a  plate  from  a  wash  drawing.  This  process 
has  great  possibilities. 

Piano  Work. — Among  the  piano  manufacturers  there  has  been  little  if  any  advance- 
ment during  the  past  year  in  general  artistic  construction.  The  instance  noticeable  is  that 
of  Mess.  Guild,  Church  &  Co.,  of  Boston,  Mass.,  who  have  introduced  already  a  solid 
mahogany  upright  piano,  with  elaborate  carved  griffin  legs,  the  front  upper  portions  being 
rich  in  design  and  well  balanced  with  musical  emblems  in  full  relief,  the  other  parts 
being  in  perfect  harmony.  There  is  no  excess  of  adornment,  all  being  simple,  rich  and 
effective. 

Portraiture. — The  past  season  brought  much  good  work  in  portraiture  before  the 
art  world.  The  younger  artists  particularly  greatly  distinguished  themselves  in  this  depart- 
ment. One  of  the  best  examples  exhibited  during  the  winter  was  Frank  Fowler's  At  the 
Piano,  reproduced  for  the  Year-book  by  the  albertype  process,  a  three-quarter  length,  life- 
size,  of  a  lady  in  a  black  dress  with  bare  arms  seated  with  her  back  to  a  piano.  Admirable 
modeling  both  of  flesh  and  drapery  was  shown  in  this  work,  and  the  painting  left  little 
to  be  desired.  Proof  of  the  artist's  versatility  was  found  in  his  charming  portrait  of  Madame 
Moujeska,  which  was  treated  in  an  entirely  different  manner.  It  was  painted  in  a  very  light 
key,  forming  a  harmony  of  delicate  colors  and  subtle  tones,  besides  being  extremely  poetic 
in  conception.  Singularly  striking  and  original  was  J.  W.  Alexander's  large  portrait  of  a 
little  girl  in  a  dark  green  frock  half  reclining  against  a  superb  tiger-skin.  In  idea,  treat- 
ment and  execution  it  was  at  once  audacious  and  supremely  artistic.  Mr.  Alexander's 
portrait  of  Mr.  Joseph  Jefferson  as  Bob  Acres  was  a  Work  of  much  individuality  and  full 
of  artistic  surprises.  C.  Y.  Turner's  life-size,  seated  portrait  of  an  elderly  lady  richly  dressed 
in  velvet  and  laces,  was  remarkable  for  its  realistic  treatment,  and  the  consistent  vigor  of 
the  handling.  The  head  and  hands  were  strongly  painted.  A  life-size  full  length  portrait 
by  Frank  Richards  of  a  Canadian  legal  dignitary  in  his  robes  of  ofifice  showed  skilful  man- 
agement of  blacks  in  different  textures  and  good  rendering  of  facial  expression.  Abbott 
Thayer's  portrait  of  Two  Ladies  was  in  many  respects  an  exceptionally  fine  piece  of  work. 
Apart  from  its  technical  merits,  the  refinement  of  feeling  shown  in  it  gave  it  unusual 
interest.  Edwin  H.  Blashfield's  portrait  of  Mr.  G.  Hilton  Scribner  showed  careful  study 
and  thought,  and  was  conscientiously  and  evenly  painted.  Daniel  Huntington  exhibited 
during  the  season  several  portraits  executed  in  the  highly  finished  manner  which  is  identified 
with  his  name.  T.  W.  Wood's  large  portrait  of  Prof.  Torrey  was  a  conscientious  study 
of  external  and  mental  characteristics  and  presented  an  admirable  type  of  the  American 
scholar.    Thomas  Millie  Dow's  half-length  portrait  of  a  man  in  a  blue  yachting  shirt,  with 


a  semi-conventional  background  of  a  floral  design,  was  an  excellent  example  of  a  kind  of 
portraiture  which  combines  ideal  treatment  with  fidelity  to  nature  and  sound  artistic 
principles.  B.  C.  Porter's  Portrait  of  a  Lady  in  the  Society  of  American  Artists  well 
illustrated  a  class  of  American  portraiture  which,  while  it  does  not  neglect  the  artistic  and 
technical  qualities,  unites  with  them  an  appreciation  of  the  subject  from  the  personal  and 
individual  standpoint. 

Press  Work. — All  the  letterpress  and  relief  plate  printing  on  the  Art  Year-book 
including  the  color  work  on  the  cover  was  done  by  Gilliss  Brothers,  New  York.  Of  the  dif- 
ferent kinds  involved  in  the  work  and  the  skill  and  care  required  throughout  an  examina- 
tion will  show.  There  are  very  few  printers  in  the  United  States  who  do  first  class 
work.  The  etching  proofs  were  printed  by  Kimmel  &  Voigt  and  main  edition  of  the  etching 
by  G.  W.  H.  Ritchie.  The  steel  plate  translucent  card  prints  are  from  the  establish- 
ment of  John  A.  Lowell  &  Co.,  Boston. 

Private  Collections. — The  most  important  two  private  collections  thrown  open  to  the 
public  during  the  year  were  the  Vanderbilt  and  the  Walters,  the  first  at  New  York,  the  second 
at  Baltimore.  The  Vanderbilt  consisted  of  over  two  hundred  oils  and  water-colors,  including 
many  pictures  of  world-wide  celebrity.  One  of  these  was  The  Sower,  by  J.  F,  Millet.  Alma 
Tadema's  Sculpture  Gallery  and  Picture  Gallery  were  fine  examples  of  the  master.  A  Por- 
trait, General  Desaix  and  the  Captured  Peasant,  Artist  at  Work,  An  Artist  and  his  Wife,  The 
Ordinance  and  some  other  works  well  represented  Meissonier.  The  Sword  Dance  and  several 
other  important  pictures  by  J.  L.  G^rome,  were  in  this  collection.  Going  to  the  Bath,  by  W. 
A.  Bouguereau,  The  Sculpture  Gallery  and  the  Picture  Gallery,  by  Alma  Tadema,  Rosa 
Bonheur's  Noonday  Repose,  Jules  Lefebvre's  Mignon,  Fortuny's  Arab  Fantasia  at  Tangiers, 
The  Portrait,  by  Louis  Leloir,  and  many  other  celebrated  pictures  were  seen  here.  Among 
other  well-known  European  artists  represented  by  examples  of  their  best  work  were  Rossi, 
Boldini,  Loustaneau,  Sir  Frederick  Leighton,  Corot,  Dor6,  Sir  John  Gilbert,  Turner,  Troyon, 
Knaus,  Baron  Leys,  Escosura,  Van  Marcke,  Millais,  Dupre,  Jules  Breton,  Rosseau,  Madrazo 
Detaille,  Stevens,  Israels  and  Munkacsy. 

The  Walters  collection  at  Baltimore,  thrown  open  to  the  public  in  February,  contained 
more  than  two  hundred  pictures  by  modern  European  masters.  Mr.  Walters's  taste  appeared 
to  run  in  the  direction  of  French  landscape  art,  and  many  fine  examples  of  the  great  French 
names  identified  with  this  kind  of  work  were  to  be  seen  in  the  collection.  Rousseau,  Diaz, 
Dupr6,  Daubigny  and  Troyon  were  represented  by  important  productions.  Rousseau's  well- 
known  Frost  was  one  of  the  gems  of  the  exhibition.  Several  cattle  subjects,  by  Van  Marcke, 
were  in  the  painter's  best  vein.  Three  fine  Millets,  The  Flax-Beater,  Potato  Harvest  and 
Wheat-field  were  among  the  most  noticeable  works.  There  were  seven  examples  of  Alma 
Tadema,  Sappho  and  Claudius  being  the  most  important.  The  other  pictures  were  all  of  the 
very  best  quality,  and  fully  sustained  the  enviable  reputation  won  by  Mr.  Walters  as  a  con- 
noisseur in  art.  This  collection  is  undoubtedly  one  of  the  best  in  the  country,  and  the  ex- 
ample set  by  Mr.  Walters  in  opening  it  to  the  public  is  one  that  should  be  followed  by  all  the 
picture-owners  of  America.  New  York  can  dispense  with  the  exhibition  of  private  collec- 
tions because  so  much  good  work  is  seen  in  public  displays  of  various  kinds,  but  in  other 
cities  such  opportunities  of  studying  the  higher  phases  of  art  are  among  the  few  accorded  to 
the  public  at  large. 


Howard  Pyle. — This  artist  has  made  for  himself  so  thoroughly  national  a  reputation 
that  he  may  be  justly  called  one  of  the  principal  figures  of  the  modern  American  school  of  art. 
Few  artists  have  devoted  themselves  so  closely  and  conscientiously  to  the  study  of  common- 
place or  eccentric  types  of  American  character,  or  rendered  them  with  greater  fidelity.  Early 
colonial  times,  the  first  quarter  of  the  present  century,  contemporary  rural  characters  brought  to 
light  in  the  heart  of  Pennsylvania  or  Virginia,  all  these  have  been  embodied  by  him  in  delicate, 
truthful,  pathetic  and  humorous  compositions  which  haunt  one's  imagination  and  memory 
with  an  indefinable  charm  of  poetic  suggestion.  Realist  as  Mr.  Pyle  is,  he  is  also  a  poet  and 
an  artist  in  rhe  ideal  sense.  He  is  particularly  successful  in  restoring  the  past  of  American 
life,  in  its  more  poetic  aspect.  In  technique,  his  work  is  exact,  certain,  precise.  The  sub- 
title-page to  these  notes  is  by  Mr.  Pyle. 

Augustus  St.  Gaudens. — Mr.  St.  Gaudens,  who  stands  in  the  foremost  rank  of  Ameri- 
can sculptors,  has  during  the  past  year  added  greatly  to  his  already  wide  reputation  with  his 
statue  of  Robert  Richard  Randall,  the  founder  of  the  Sailors'  Snug  Harbor  on  Staten  Island. 
This  work  is  remarkable,  not  only  for  its  masterly  technique,  but  for  the  admirable  manner 
in  which  the  sculptor  has  realised  and  set  before  us  the  spirit  of  a  past  generation  in  all  its 
living,  breathing  humanity.  The  easy  grace  of  the  pose,  the  admirable  composition  of  line, 
are  as  striking  as  is  the  rendering  of  personal  and  national  characteristics  in  this  typical  Ameri- 
can subject.  Another  work  which  has  done  much  to  substantiate  Mr.  Gaudens's  claims  to  be 
regarded  as  the  strongest  of  the  younger  American  sculptors  is  his  lifesize  full  length  statue 
of  Admiral  Farragut,  a  robust  and  manly  piece  of  work  and  an  admirable  embodiment  of  the 
American  national  idea.  As  a  portrait-sculptor  Mr.  St.  Gaudens  ranks  second  to  none.  The 
illustration  given  first  appeared  in  the  Century. 

Sculpture. — Much  creditable  work  in  this  department  came  before  the  art-public  dur- 
ing the  year,  particularly  Augustus  St.  Gaudens's  lifesize  full-length  of  Randall,  as  already  no- 
ticed. The  statue  of  Lafayette,  by  J.  Q.  A.  Ward,  a  work  of  heroic  size,  representing  the 
subject  in  the  court-dress  of  his  time,  was  a  fine  work,  worthy  of  the  reputation  of  the  sculp- 
tor, and  as  a  contribution  to  the  artistic  illustration  of  American  history  of  more  than  ordi- 
nary interest  to  the  art-world  and  the  general  public.  Edward  Kemeys  came  prominently 
before  the  public  during  the  year  as  a  sculptor  of  animals,  having  made  a  reputation  in  that 
direction  abroad  with  his  figures  of  buffaloes,  panthers,  wolves  and  other  wild  creatures.  Mr. 
Kemeys  chooses  American  subjects  for  treatment,  and  his  work  is  not  only  valuable  artistic- 
ally, but  as  presenting  types  of  the  American  forest-life.  Olin  L.  Warner's  statue  of  Gov- 
ernor Buckingham  was  a  representative  American  work,  full  of  nervous  force  and  elasticity, 
handled  with  unusual  technical  skill  and  well  reproducing  the  characteristics  of  the  subject, 
mental,  moral  and  physical.  J.  S.  Hartley's  large  bust  of  Lawrence  Barrett  was  a 
work  of  much  merit,  rendering  the  best  side  of  the  actor's  personality  and  tal- 
ent with  skill  and  a  sense  of  artistic  effect.  Launt  Thompson's  model  for  a  statue 
of  Admiral  Dupont  was  a  conception  at  once  vigorous  and  refined  and  en- 
tirely desirable  technically.  The  observations  of  the  past  year  all  point  to  the  fact 
that  American  sculpture  is  gaining  ground  rapidly  as  an  artistic  expression  of  the  idea  of 
American  nationality.  The  most  important  works  have  been  those  which  have  combined 
portraiture  or  personality  with  historical  significance.  The  drawing-room  prettiness,  the  so- 
called  ideal  conceptions  which  have  been  the  conventional  attributes  of  American  sculpture 
arc  fast  disappearing  or  becoming  absorbed  into  the  purely  decorative  expression  of  the  art. 


Silver  Work. — The  praises  of  our  work  in  precious  metals  have  been  sung  for  years 
and  except  to  refer  to  the  illustration  of  selected  objects,  there  is  but  little  to  add  in  these 
notes.  It  is  gratifying  to  see,  however,  that  within  the  year  attention  more  marked  than  ever 
has  been  given  to  the  utilisation  of  the  natural  motives  of  design  found  in  American  flora. 
In  many  instances  these  have  been  highly  wrought  into  most  exquisite  and  intricate  pat- 
terns by  skilful  chasing,  effects  being  hightened  by  contrasting  various  metals  on  the  surface. 
A  general  idea  of  the  work  and  of  the  forms  of  some  objects  can  be  had  from  the  illustration 
in  this  book. 

Society  of  American  Artists'  Exhibition.— The  Seventh  Annual  Exhibition  of 
the  Society  of  American,  Artists  opened  on  May  26th,  and  closed  on  June  21st.  In  ac- 
cordance with  the  declared  principles  of  the  Society,  the  works  were  by  members  of  the 
younger  school  of  American  Art,  whether  resident  in  Europe  or  in  America.  As  a  whole 
the  exhibition  did  not  compare  favorably  with  those  previously  held,  and  the  spirit  of 
clique  and  personal  aggrandisement  was  seen,  unfortunately,  to  have  influenced  the  opinions 
of  the  selection  and  hanging  committees.  A  number  of  excellent  individual  pictures,  how- 
ever, served  to  redeem  the  shortcomings  of  the  collection,  regarded  in  its  entirety.  Three 
works  of  similar  subject  and  treatment  were  Will  H.  Low's  Narcissa,  G.  W.  Maynard's  The 
Bride,  and  F.  D.  Millet's  A  Spring  Offering.  All  represented  beautiful  girls  in  classical 
garments,  were  light  in  key,  and  showed  admirable  painting  of  flesh  and  drapery.  Mr. 
Low's  Narcissa,  a  young  girl  in  white,  seated,  holding  a  few  narcissi  loosely  in  her  hand, 
was  particularly  remarkable  for  its  charm  of  classic  sentiment  and  graceful  composition  of 
line.  A  most  artistic  bit  of  work  was  Abbott  Thayer's  Child  and  Cats,  in  which  some  mas- 
terly flesh  modeling  was  to  be  seen,  as  well  as  striking  effects  of  light  and  tone.  In  flower 
painting,  the  best  exhibit  was  made  by  J.  Alden  Weir  with  his  two  compositions  of  roses  and 
antique  silver  and  wood-carvings.  Exquisite  contrasts  of  color,  great  subtlety  of  tone  and 
effects  of  light,  besides  excellent  modeling  and  painting,  characterised  these  admirable  works. 

Steel-engraving. — No  great  work  in  steel-engraving  has  been  completed  within  the  year. 
Mr.  Marshall  exhibited  his  head  of  Christ,  of  extraordinary  size  and  not  yet  fully  finished.  As 
a  conscientious  and  religious  work,  together  with  its  high  art  qualities,  it  caused  much  com- 
ment. The  selection  made  for  the  Art  Year-book  represents  another  style  of  steel-engraving 
— one  that  has  acquired  a  reputation  as  being  distinctively  American.  Mess.  John  A.  Lowell 
&  Co.,  of  Boston,  introduced  cards  printed  from  steel  plates  as  an  advertising  method.  These 
cards  are  now  known  far  and  wide,  the  best  artists  being  engaged  in  making  original  designs 
for  reproduction.  The  original  of  the  one  that  is  given  is  by  George  W.  Edwards,  a  young 
artist  resident  at  Paris,  whose  work  abounds  in  happy  conceits  and  dainty  fancies  as  well  as 
serious  thought. 

Tiles. — During  the  past  year  the  Low  Art  Tile  Co.,  of  Chelsea,  Mass.,  has  been 
studiously  engaged  in  perfecting  its  productions,  not  only  in  respect  to  finish  and  solidity, 
but  in  the  matter  of  design  as  well.  Since  the  day  that  this  company  secured  its  first 
medal  at  Crewe,  England  (September,  1880),  in  competition  with  tile  makers  of  the  world 
it  has  steadily  advanced,  until  it  is  now  beyond  competition  and  stands  alone.  Mr. 
J.  G.  Low,  the  inventor  of  these  tiles  and  head  of  this  great  house,  possesses  natural  talents  in 
the  arts,  and  his  years  of  training  under  Couture  and  Troyon  are  evidenced  in  his  productions 
today.  Beauty  of  finish,  quality  of  color,  and  brilliancy  in  glase  effect  constitute  the  chief 
charms  in  an  artistic  sense  of  these  important  objects  of  household  decoration  and  usefulness. 


C.  Y.  Turner. — Among  the  younger  artists  who  have  distinguished  themselves  by 
the  careful  and  conscientious  treatment  of  purely  American  themes,  is  C.  Y.  Turner. 
Equipped  with  an  excellent  technique,  gained  by  long  study  under  the  best  foreign  mas- 
ters, Mr.  Turner  returned  from  abroad  several  years  ago  with  the  distinct  end  in  view  of 
devoting  himself  to  the  painting  of  American  subjects  from  the  American  standpoint. 
This  was  a  determination  as  praiseworthy  as  unusual  in  an  American  artist  who  had  been 
absorbing  foreign  influences  for  several  years.  His  first  important  American  picture,  hav- 
ing for  its  subject  a  widow  and  child  crossing  a  stile  at  East  Hampton  coming  from  the 
graveyard,  struck  the  keynote  of  his  future  line  of  work  and  won  a  reputation  for  the 
artist  as  soon  as  exhibited.  Since  that  time  Mr.  Turner  has  been  making  rapid  strides 
as  a  painter  of  American  subjects.  The  head-band  etching  on  the  preface  page  is  by  him — 
etching  having  recently  come  within  his  practice. 

Water-Color  Society  Exhibition. — The  seventeenth  annual  exhibition  of  the 
American  Water-Color  Society  opened  on  February  3d,  and  closed  on  March  1st.  It 
contained  six  hundred  and  sixty-three  works,  a  large  proportion  of  which  were  of  excellent 
quality.  As  a  whole,  the  exhibition  was  sufificiently  satisfactory.  It  was  characterised  by 
the  preponderance  of  works  in  pure  aquarelle  over  those  in  opaque  color  or  a  combination 
of  the  two  media,  showing  that  a  decided  reaction  had  taken  place  among  American  artists 
in  favor  of  water-color  proper.  Another  feature  was  the  arrangement  of  the  large  south 
gallery  according  to  the  tones  of  the  pictures,  the  darks  being  hung  at  one  end  of  the  room, 
and  the  lights  at  the  other.  F.  S.  Church's  Pandora  struck  the  keynote  of  tone  at  the  light 
end  of  the  gallery.  This  was  one  of  the  artist's  best  works,  being  skilfully  painted  as  well  as 
fresh  and  charming  in  sentiment.  It  showed  Pandora  as  a  very  young  girl  kneeling  on  a 
coffer  and  struggling  to  force  back  the  many  imps  representing  human  woes  escaping  from  it. 
On  either  side  hung  Flirtation  and  The  Elopement,  by  C.  D.  Weldon,  companion  uprights, 
excellent  in  color  and  handling  and  delicately  humorous  in  sentiment.  They  represented  the 
courtship  of  a  Parisian  and  a  Japanese  doll.  Notable  works  are  too  numerous  to  refer  to 
here.    A  number  of  the  more  important  have  been  etched  since  the  exhibition  closed. 

Wood-Engraving. — So  much  has  been  written  about  American  wood-engraving  that  it 
seems  hardly  possible  to  summarise  or  to  do  more  than  advert  briefly  to  the  apparent  ten- 
dency of  the  art  as  manifested  within  the  year.  For  tl^e  most  beautiful,  costly  and  excellent 
wood-engraving  we  are  accustomed  to  look  to  the  magazines.  The  Century  certainly  led  in 
departing  from  time  honored  conventions  and  is  responsible  mainly  for  the  development  of  the 
school  known  as  that  of  the  modern  interpretive  engraver — a  school  that  delegates  to  the  en- 
graver extraordinary  discretion  as  to  the  best  method  of  rendering  an  artist's  original  and 
which  may  reproduce  that  original  in  two  radically  different  forms  if  given  to  different  engrav- 
ers of  equal  ability.  This  school,  however,  seems  to  have  reached  its  climax  and  to  have 
occasioned  a  reaction  of  popular  fancy.  Indications  at  present  are  that  the  days  of  over- 
wrought, excessively  fine  cut,  indeterminate  wood-engraving  are  numbered  and  that  we  have 
entered  upon  a  more  vigorous,  bolder,  certain  era  that  soon  will  relegate  the  Century  wood- 
cuts of  the  past  three  or  four  years  to  the  position  of  curiosities.  And  no  stronger  evidence 
of  the  tendency  is  to  be  found  than  in  the  pages  of  Harper's  Magazine,  where  some  marvel- 
lously strong,  clear  and  brilliant  cutting  has  been  appearing  for  some  months  past.  The 
illustration  of  wood-engraving  selected  for  this  Art  Year- book  is  Mr.  Kingsley's  Tragedy  of 
the  Nest. 


* 


ELEVEN 


XAMPLES  OF 


VARIOUS  GRAPHIC  PROCESSES.  ETCHING,  BY  WILL  H.  LOW  ; 
WOOD-ENGRAVING,  BY  ELBRIDGE  KINGSLEY  ;  LITHOGRA- 
PHY, BY  L.  PRANG  &  CO.,  FROM  A  PAINTING  BY  W.  HAMILTON 
GIBSON  ;  STEEL-ENGRAVING,  BY  JOHN  A.  LOWELL  &  CO., 
FROM  A  DRAWING  BY  GEORGE  W.  EDWARDS  ;  ALBERTYPE,  FROM  A  PAINTING 
BY  FRANK  FOWLER;  HELIOTYPE,  FROM  A  PAINTING  BY  EDWARD  MORAN  ; 
PHOTOTYPE,  FROM  A  PAINTING  BY  WALTER  L.  PALMER.  ARTOTYPE  IS 
REPRESENTED  BY  FOUR  COLOR  PRINTS  ON  PRECEDING  PAGES,  FROM  DRAWINGS 
BY  LEON  MORAN,  WILLIAM  BLISS  BAKER,  HARRY  CHASE,  AND  JULIA  DILLON. 


LAT€AT»  5ClNTiLLVLA 


GEO. 


FLETCHEU   DABB,  DEL, 


HI.KC,    LIGHT  ENG.   CO.,  SC, 


ELBRIDGE  KINGSLEY 


PINX.  ET  SC. 


4 


Frank  Fowler,  Pikx. 


FoRuiis  LiTH.  Mfg.  Co.,  Sc. 


* 


RTISTS'  AUTOGRAPHIC  DRAW- 
INGS:   EXAMPLES    BY  CAR- 
V  '  ROLL  BECKWITH,  BRUCE  CRANE,  ERANK 
ity^  ■  ■  FOWLER,  J.  A.  MITCHELL,  PERCY  MORAN, 

V  'iW^S^^      I.  FRANCIS  MURPHY,  RHODA  HOLMES  NICHOLLS 
('     AND    CHARLES    SPRAGUE    PEARCE.      SEE  ALSO 
THE     PRECEDING      NOTES      DESCRIPTIVE  AND 
BIOGRAPHIC. 


A.  B.  FROST,  DEL. 


MOSS  ENO.  CO.,  SC. 


CARROLL  BECKWITH,  I'INX. 


MOSS  F.NC;.  CO.,  sc. 


I 


FRANK  FOWLER,  PINX. 


PHOTO  ELKC.  CO.,  SC. 


* 


MOSS  ENG.  CO.,  St. 

PEECV  MORAN,  PINX. 


J.  FRANCIS  MURPHY,  PINX. 


PHOTO  ENC.  CO.,  SC. 


EHODA  HOLMES  NICHOLLS,  HNX. 


MOSS  ENG.  CO.,  SC. 


CHARLES  SPRAGUE  PEARCE,  PINX. 


PHOTO  ENG.  CO.,  SC. 


AUGUSTUS  ST.  GAUDENS.  INV. 


J.  II.  E.  WHITNEY,  SC. 


APPLIED  ART 

EXAMPLES  OF  INTERIOR  DECORATION, 
IRON- WORK,  BRASS-WORK,  JEWELRY, 
SILVER-WARE,  NEEDLE-WORK,  ARCHI- 
TECTURE,  FURNITURE,  AND  CERAMICS. 


* 


* 


J.  I,.  DUFAIS,  INV. 


PHOTO  ENC.  CO.,  SC. 


AMER.  I'HOrO  ENG.  CO.  SC. 


ASSOCIATED  ARTISTS,  mVs 


CROSSCL'P'*  WEST  ENG.  CO.,  SC. 


KEELER  &  COMPANY,  m'f's 


MOSS  KNG.  CO.,   DEL.  ET  SC. 


"  There  is  none  made  so  great,  but  he  may  both  need  the  hf-lp  and  service,  and  stand  in  fear 
OF  the  power  and  unkindness,  even  of  the  meanest  of  mortals."— SENECA. 


CATALOGUE  OF  EXHIBITS 


ABBATT,  Agnes  D. 

1.  Sweet  Peas. 

2.  Dandelions. 

3.  The  5  P.  M.  Train. 

ALBEE,  Byron. 

4.  After  the  Storm. 

ALEXANDER,  S.  B. 

5.  My  Little  Neighbor. 

ANNELLI,  F. 

6.  Penitence. 


337  4th  avenue,  N.  Y. 


14  Winter  street,  Boston. 
Studio  Building,  Boston,  Mass. 
T.  A.  Wilmarth,  N.  Y- 
1802  Mt.  Vernon  street,  Philadelphia,  Pa. 


ANSHUTZ,  Thos.  P. 
7.  The  Courtin'. 

Born  in  Newport,  Ky.,  1851.    Studied  in  N.  A.,  N.  Y.     Pupil  of  Thos.  Eakins.    Now  teacher  in  the  Academy. 


9- 

10. 


II. 
12. 


ATTWILL,  L.  B. 

Crayon  Portrait. 

Ideal  Head. 

BARRY,  E.  S.  Marz. 
Clover  Blossoms. 
Thistles. 


1499a  Tremont  street,  Boston. 


33  Barr  street,  Boston,  Mass. 


Evans  House,  Boston,  Mass. 


BARSE,  Jr.,  Geo.  Randolph. 
13.  In  Arms. 

Bom  Detroit,  Mich.,  1862.    Pupil  of  Jules  Lefebre  and  Gustave  Bouianger.    Second  Academical  prize,  Paris. 


BARSTOW.  Susie  M. 

14.  Jung  Frau,  Switzerland. 

15.  Old  Mill,  Gilead,  Me. 

16.  Autumn,  Catskills. 


182  Washington  street,  Brooklyn,  N.  Y. 


BEAMAN,  W.  G. 

17.  Lake  George,  N.  Y. 

18.  "  Evening,  Westminster,  Mass. 


5  Tremont  street,  Boston,  Mass. 


19. 
20. 


21. 
22. 

23- 
24. 
25. 
26. 
27. 
28. 

N, 


BECKET,  Maria  J.  C. 
Planter's  Glen,  Va. 
Virginia  Landscape. 


Hotel  Vendome,  Boston,  Mass. 


58  W.  Fifty-seventh  street.  New  York. 


BECKWITH,  J.  Carroll. 
-The  Country  Cousin. 
Child  with  Doll. 
In  the  Park. 
Head. 

Peasant  Against  Hay. 
Sphinx. 

Girl  Before  Mirror. 
On  the  River. 

Y.  Pastel  Club.  Born  in  Missouri,  1852.  Studied  under  Carolus  Duran  and  Yvon 
Mention.    Member  Society  of  Am.  Artists. 


Received  Honorable 


29. 
30. 

31- 

32. 

33- 

34. 
35- 

36. 
37- 


38. 

39- 
40. 


BEECHER,  A.  D. 

The  Village  Cobbler. 

BENNETT,  S. 

Calla  Lillies. 
Fern  Leaves. 

BENTLEY,  W.  E. 
A  Cloudy  Day. 

BERGEN,  Angelique  R. 
Roses. 

BERTIER,  F.  E. 
Izigane. 
Chauseuss. 

BIGELOW,  D.  F. 
Riverside. 


BISSELL,  Edgar  J. 
Anticipation. 

Born  in  St.  Louis,  Mo.    Studied  in  Julian's  Studio,  Paris. 


Chicago,  111. 

1565  Washington  street,  Boston,  Mass. 

14  Winter  street,  Boston. 
104  Oak  street,  Brooklyn,  N.  Y. 

Paris,  France. 


Chicago,  111. 
Paris,  France. 


BLACKMAN,  Walter. 

Nasturtiums. 
Kitchen  Interior. 
The  Letter. 


(Am.  Art  Asso'n,  N.  Y.) 


BOARDMAN,  VVm.  G.  Boston. 

41.  View  on  the  Mohawk  River. 

BOARDMAN,  Mrs.  Mary  M.  Boston. 

42.  On  the  Hudson. 

43.  White  Mountains. 

BOGGS,  F.  M.  Paris,  France. 

(Am.  Art  Asso'n.) 

44.  Old  Houses  on  the  Canal,  Dordrecht. 

Received  favorable  mention  Salon,  exhibits  in  all  important  collections  in  Europe  and  America. 

BOLMER,  M.  D'FOREST.  51  W.  Tenth  street.  New  York. 

45.  Looking  Seaward. 

46.  Early  Morning. 

BOOTT,  Elizabeth.  47  Mt.  Vernon  street,  Boston,  Mass. 

47.  Hannah. 

48.  Richmond  Meadows. 

49.  Branch  of  Apples. 


Pupil  of  Couture. 


BORRIS,  Albert.  161  Tremont  street,  Boston,  Mass. 

50.  Woods  in  North  Germany. 
50A.  Lake  View. 

BOUGUEREAU,  William  Adolphe. 

51.  Nymphs  Bathing. 

From  the  collection  of  Dr.  B.  F.  Dawson,  Fifth  Avenue,  New  York  City. 
Born  at  La  Rochelle,  1825.  Member  of  the  Institute  and  officer  of  the  Legion  of  Honor.  When  very  young,  he  was 
sent  to  the  college  at  Pons,  and  even  then  showed  his  aptness  for  drawing.  When  the  proper  time  arrived,  he 
was  sent  to  Bordeaux  and  placed  in  a  business  house.  He  obtained  permission  to  attend,  for  two  hours  a  day,  the 
drawing-school  of  M.  Alaux.  His  fellow-pupils,  almost  without  exception,  intended  to  be  artists,  and  felt  a 
contempt  for  Bouguereau  on  account  of  his  business  occupations  ;  thus,  when  at  the  end  of  the  year  he  took  the 
prize  for  which  all  had  striven,  the  excitement  was  so  great  that  a  riot  occurred,  and  ihe  pupils  made  a  formal 
protest  against  his  receiving  it,  but  without  effect.  He  then  announced  to  his  family  his  decision  to  become  a 
painter.  He  had  no  money,  and  went  first  to  Saintouge,  where  his  uncle  was  a  priest.  No  painter  had  ever  been 
there,  and  Bouguereau  was  soon  busy  in  making  portraits  of  dwellers  in  that  region.  He  was  able  to  save  900 
francs,  with  which  he  went  to  Paris,  and  entered  the  studio  of  Picot,  and,  later,  I'Ecole  des  Beaux-Arts,  where  his 
progress  was  rapid.  He  gained  the  grand  prize  in  1850,  and  went  to  Rome.  The  works  he  sent  from  there  were 
worthy  of  attention,  but  his  real  fame  dates  from  1854,  when  he  exhibited  "  The  Body  of  St.  Cecilia  borne  to  the 
Catacombs."  It  is  now  in  Luxembourg,  together  with  the  "  Philomela  and  Procre  "  (i86i)and  the  "  Mater  Affcc- 
torum,"  or  "  Vrerge  Consolatrice  "  (1876).  For  this  last  the  artist  received  12,000  francs  from  the  government, 
and  refused  double  that  sum  from  a  private  individual ;  it  will  doubtless  find  a  home  in  the  Louvre.  Just  when  Bou- 
guereau began  to  be  famous  M.  Bartolony  employed  him  to  decorate  his  drawing-room,  by  which  work  he  proved 
himself  a  good  decorative  painter  ;  soon  after  he  received  a  more  important  commission  in  the  Hotel  Percrce  ; 
later,  he  executed  the  paintings  on  the  ceiling  of  the  concert  room  of  the  Bordeaux  Theatre,  and  other  decorative 
virorks  in  the  churches  of  St.  Clothilda  and  St.  Augustin.  At  the  Salon  of  1877  he  exhibited  the  "  Vierge  Conso- 
latrice "  and  "  Youth  and  Love;"  in  1876,  "  Preta,"  belonging  to  Prince  Demidoff,  and  a  portrait  ;  in  1875,  "  The 
Virgin,  the  Infant  Jesus,  and  St.  John  the  Baptist,"  belonging  to  M.  Boucicaut,  "  Flora  and  Zephyrus,"  and  "A 
Bather  :"  in  1874,  "  Charity,"  belonging  to  Mr.  Avery,  "  Homer  and  his  Guide,"  and  "  Italians  at  a  Fountain  ;" 
in  1873,  "Nymphs  and  Satyrs,"  and  "The  Little  Marauders;"  1872,  "  Harvest  Time,"  and  "  The  Mower;"  1870, 
"  The  Bather,"  and  the  "  Vow  at  St.  Anne,"  etc.    At  the  Johnston  sale,  "Blowing  Bubbles"  (10x8)  sold  for 


$1,225,  and  "  On  the  Way  to  the  Bath  "  (39  x  30)  for  $6,000.  At  the  Latham  sale.  New  York,  in  1878,  "  Rest 
during  Harvest,  Italy  "  (45  x  58)  sold  for  $4,000.  At  the  Salon  of  187S  Bouguereau  exhibited  a  portrait  of  a  lady. 
This  was  the  year  in  which  the  "  Nymphs  Bathing"  was  painted  or  finished,  and  which  received  the  highest  praise 
from  all  the  best  known  critics  when  at  a  later  date  it  was  shown  in  the  Salon.  It  embodies  the  best  characteris- 
tics of  the  artist's  ability  ;  indeed,  several  of  the  strongest  figures  are  types  he  has  used  previously  and  with  great 
effect.  There  is  much  that  is  ideal  in  his  creations,  but  never  the  sensual.  The  two  male  figures  on  the  right 
express  wonder  and  astonishment  in  much  the  same  sense  that  one  would  who  was  being  charmed  by  an  emotional 
narrative  being  told  in  a  captivating  manner.  The  figures  are  marvelously  graceful,  and  the  Sylvan  Nymph  in  the 
foreground  seems  to  be  interested  in  the  movements  of  her  charge.  The  play  of  .sunlight,  strong  modeling,  and 
purity  of  atmosphere  are  things  to  be  greatly  admired  in  the  picture. 

BRAYLEY,  C.  Albert.  125  Tremont  street,  Boston. 

52.  ■  Halt. 

53.  Tired. 

BREUL,  Hugo.  Butler  Exchange,  Providence,  R.  I. 

54.  Recollections. 

55.  Portrait. 

BRIDGMAN,  Charles.  16  Court  street,  Brooklyn,  N.  Y. 

56.  Trumpery. 

57.  Queen  of  the  Play. 

58.  The  Dress  Rehearsal. 

59.  Among  the  Nineties. 

60.  Promise  not  to  Tell. 

BRICHER,  A.  T.    A.  N.  A.  N.  Y. 

61.  Pulpit  Rock,  Nahant. 

BROWN,  Geo.  L.  Maiden,  Mass. 

62.  Autumnal  Sunset,  New  Hampshire. 

(From  the  collection  of  E.  Moody  Merrill.) 
Born  in  Boston.    Lived  in  Paris  and  Florence.    His  works  hang  in  the  richest  art  collections  in  Europe  and  America. 
The  Prince  of  Wales  possesses  two  of  his  works.    One  of  the  best-known  American  painters. 

BROWN,  Paul.  Chicago,  111. 

63.  The  Falls  of  Minnehaha. 

BUNCE,  William  Gedney.  80  East  Washington  square,  N.  Y. 

64.  Bessie  Watt's  Meadow. 

65.  Fishing  Boats,  Venice. 

66.  Near  Chioggia. 

Student  in  Munich  and  Paris.    Exhibited  in  Paris  Salons  of  '76  and  '78.    Born  at  Hartford,  Ct. 

BUNNER,  A.  F.  Venice. 

67.  Canale  San  Antonin  and  Campainle  of  San  Giorgio,  Venice. 

(Collection  of  J.  Eastman  Chase,  7  Hamilton  Place,  Boston,  Mass.) 

BURDICK,  Horace  R.  433  Washington  street,  Boston,  Mass. 

68.  Portrait  Study. 

Born  at  East  Killingsly,  Ct.,  1844.    Studied  at  Lowell  Institute  and  Museum  of  Fin  e.  Arts. 


BURLEIGH,  Sidney  R. 

69.  Waiting  for  the  Fishermen. 

70.  "  Over  the  Garden  Wall." 

71.  Rainy  Day  on  the  Marsh. 

BURR,  Louis  H. 

72.  ,        "  Dinner,  Papa!" 

CADY,  G.  E.,  Miss. 

73.  Basket  of  Roses. 


CALIGA  (STIEFIL),  J.  H. 

74.  Fond  of  his  beer. 

Boin  in  Indiana,  visited  Paris,  and  studied  in  Munich  for  several  years 

CARLSEN,  Emil. 

75.  "  Under  the  Hay  cock  fast  asleep." 

F.  T.  Robinson,  owner. 


Providence,  R  L 

139  W.  55th  street,  N.  Y. 
224  W,  38th  street. 
3  Houston  Place,  Boston. 


Europe. 


CARR,  G.  Lyall. 

76.  His  First  Summer. 

CASTELLO,  Eugene. 

77.  Solid  Comfort. 

78.  Ready  for  Business. 

CATLIN,  Mary  Louise. 

79.  Between  Meals. 

80.  Hung  on  Line. 

CHAMPNEY,  J.  Wells. 
80A.  The  Coquette. 

CHAPMAN,  Carlton  T. 

81.  Staten  Island  Shore. 

82.  "  Spanish  Gypsy." 

CHASE,  A.  V. 

83.  A  New  Country  Road. 

CHURCH,  F.  S.    A.  N.  A. 

84.  The  Awkward  Squad. 

COLMAN,  C.  C. 

85.  Study  of  Figures. 

COX,  Kenyon. 

86.  Portrait,  L.  E.  O. 

87.  Portrait,  H.  L.  F. 

Member  Society  Am.  Artists.    Studied  mostly  in  Europe 


L.  R.  Menger,  35  Dey  street,  N.  Y. 
408  Greenwich  street,  Philadelphia,  Pa. 

208  Main  street,  Hartford,  Ct. 

N.  Y.  City. 
52  E.  23d  street,  N.  Y. 

Newport,  Mass. 
58  W.  13th  street.  New  York  City. 


145  W.  55th  street,  N.  Y. 


CROPSEY,  J.  F.    N.  A.  58  W.  57th  street,  N.  Y. 

88.  Hudson  River  Scenery. 

Born  in  Staten  Island,  1823.    Studied  in  Europe.    Has  exhibited  in  the  Royal  Academy  and  International  Exhibi- 
tion, 1862.    Made  a  full  member  National  Academy  Design,  1851. 


89. 

90. 
91. 
92. 

94. 

95- 

96. 
97. 

98. 
99. 

100. 

lOl. 

102. 
103. 

104. 

105. 

106. 
107. 
108. 


CUMMINGS,  Edward  C. 
Fleur  de  lis. 

DARBY,  Frances. 
Pysche. 
Pocatta. 
Panee. 

DAVIS,  S.  C,  Miss. 

Roses  and  Still  Life. 


2  Farnum  PI.  Roxbury. 
413  N.  32d  street,  Philadelphia,  Pa. 

Cypress  Place,  Brookline,  Mass. 
149a  Tremont  street,  Boston. 


(Williams  and  Everett,  Boston,  Mass.) 

1 1  East  14th  street,  N,  Y. 


DAY,  Henry. 

Rodick's  Island,  Bar  Harbor. 
Pond  near  Hebron,  N.  H. 

DEAN,  Walter. 

French  Fishing  Boats. 
Court  Yard,  Point  Aven. 

DE  THULSTRUP,  T. 

Sunday  in  Delcavid. 

Collection  of  W.  H.  Forbes,  Esq. 

"  The  Priest-like  Father  turns  the  Sacred  page." 

Descriptive. — An  interior  of  a  Swedish  peasant's  home;  the  father  reads  the  Bible  to  his  family 

DEWEY,  Chas.  Melville. 
Early  Spring. 

DIETERICH,  Ferdinand. 
In  Memoriam. 
Landscape. 
A  Sketch. 


788  Broadway,  N.  Y. 
309  E.  25th  street. 


109. 
1 10. 


Di  GIORDANO,  Luca. 
The  Magdalen. 

DILLON,  H. 

Study  for  Decoration. 

DIXWELL,  Anna  P. 

Old  Reservoir,  Boston,  1883-84. 
Red  Flowers. 
Looking  up  Broadway. 

DOLPH,  J.  H.    A.  N.  A. 

The  rat  retired  from  the  World. 
Market  Place,  Antwerp. 


N.  Y.  City. 
Jamaica  Plains,  Mass. 

58  W.  57th  street,  N.  Y. 


Pupil  of  Van  Kuyck,  Antwerp,  1870  ;  Paris,i88o-8i-82.     Exhibited  in  Paris  Salon,  1882.     Born  at  Fort  Ann 
N.  Y.,  1835. 


Paris,  France,  or  1007  G  street  N.  W.,  Washington,  D.  C. 


DONOHO,  C.  RUGER. 

111.  Primroses. 

112.  Mauvais  Herbs.    Salon, '83. 

DRAPER,  Jr.,  Francis. 

113.  Labrador  Fishing  Grounds. 

114.  Coffin's  Beach,  Annisquam. 

DURANT,  E.  Leon. 

115.  Reading  Robinson  Crusoe. 

116.  Down  on  Cape  Cod. 


EDWARDS,  George  W. 
117.  Frog  Land,  The  Reproof. 

(John  A.  Lowell  &  Co.,  owner.) 
Studied  for  a  number  of  years  in  Paris,  where  he  now  resides. 


163  Warren  Ave.,  Boston,  Mass. 


788  Broadway,  N.  Y. 


Paris,  France. 


118. 


119. 


120. 


120A, 
120B. 
1 20c. 


121. 
122. 
123. 
124. 

125. 
126. 
127. 

128. 
129. 
130. 


EKSERGIAN,  T. 
Rug. 

B.  Armenia.    Studied  Ecole  des  Beaux-Arts  under  Gerome  and  Boulanger 


Evans  House,  Boston,  Mass. 


EKSERGIAN,  C. 

Portrait,  "Zadie." 

(Collection  Lyman  H.  Weeks,  Esq.) 
B.  Armenia.    Studied  in  Ecole  des  Beaux-Arts  under  Gerome  and  Boulanger 


Evans  House,  Boston,  Mass. 


EMMET,  RosiNA. 
Autumn. 

Few  American  Artists  have  made  such  rapid  progress  within  a  year. 

ENNEKING,  J.  J. 
Old  York. 
Foggy  Morning. 
York  River. 


East  Rockaway,  L.  L 


Hyde  Park. 


FALCONER,  J.  M. 
May  Blossoms. 
Where  Boneset  Grows. 
Pickles. 

At  E.  Hampton,  L.  L 
Vermont  Road,  1864. 
Architectural. 

Cole's  First  Studio,  Catskills. 

FARR,  Elen  B. 
Roses. 
Lilacs. 
Flowers. 


no  St.  Felix  street,  Brooklyn,  N.  Y. 


Music  Hall  Building,  Boston,  Mass. 


FALKNER,  J.  (William  Everetts,  Boston,  Mass.) 

131.  Among  the  Hills. 

FENNER,  E.  K.  18  Claremont  Park,  Boston. 

132.  Plums. 

133.  Pond  Lilies. 

FLAGG,  Charles  Noel.  140  W.  55th  street,  N.  Y. 

134.  An  Arab. 

FOWLER,  Frank.  University  Building,  N.  Y. 

135.  In  the  Springtime. 

Native  of  New  York.     Studied  under  E.  White,  Florence,  and  Carolus  Duran,  Paris.     Assisted  the  latter  in  painting 
frescos  for  the  museum  of  the  Luxembourg  exhibition  in  Salon,  1878. 

GARDNER,  Elizabeth  B.  Salem,  Mass. 

1 36.  Catalpha  Boughs. 

137.  Roses. 

GARRATT,  J.  H.  28  Winter  street,  Boston. 

138.  Stone  Bridge,  W.  Roxbury. 

GAUGENGIGL,  L  M.  Boston,  Mass. 

139.  The  Favored  Choice. 

(Owned  by  John  A.  Lowell  &  Co.,  Boston,  Mass.) 
Born  in  Passau,  Bavaria,  1855.      Pupil  of  Prof.  Raab,  and  W.  Dicz.     Studied  in  Italy  and  Paris.     Received  import- 
ant commission  from  the  King  of  Bavaria. 

GAY,  Edward.    A.  N.  A.      Holbein  Studios  (Am.  Art  Asso'n),  W.  57th  street,  N.  Y. 

140.  Salt  Meadows,  East  Chester. 

141.  Fjollan  Fjord,  Norway. 

B.  Ireland  1837.     Studied  under  Schrimer  in  Carlsruhe,  Germany  ;  afterward  with  Lessing. 

GEROME,  Jean  Leon.  Paris,  France. 

142.  Averse  to  Smoke. 

(From  the  Collection  of  T.  Jefferson  Cooledge,  Esq.,  Boston,  Mass.) 
Member  of  the  Institute,  and  officer  of  the  Legion  of  Honor. 

GEYER,  F.  S.  East  Cambridge,  Mass. 

143.  Crayon  Head. 

GIBSON.  Wm.  Hamilton.  30  E.  14th  street,  N.  Y.  City. 

144.  Autumn  Study. 

145.  Spring  Sketch. 

146.  Indian  Summer  Afternoon. 

GIFFORD,  S.  R.,  (dec'd).  Am.  Art  Association,  N.  Y. 

147.  Chamouni. 


* 


GRAHAM,  Wm.  Venice.  Care  of  Williams  &  Everett,  Boston,  Mass. 

148.  Street  View,  Cairo. 

149.  Outskirts  of  Cairo. 

150.  Mosque  near  Cairo. 

151.  Tombs  of  the  Mamelukes. 

Bom  in  America.      Spent  most  of  his  years  in  Rome.      Exhibits  in  Salon,  Paris,  and  American  exhibitions  of  im- 
portance.    His  pictures  are  owned  by  some  of  our  best  collectors. 

GRANT,  C.  R. 
151A.         Spring  Time. 

GREATOREX,  K.  H.  58  W.  57th  street,  N.  Y.  City. 

152.  Study. 

HAMILTON,  Hamilton.  58  W.  57th  street,  N.  Y. 

153.  Portrait. 

154.  "  Peek-a-Boo." 

HAMMOND,  D.  W.  Somerville.  Mass. 

155.  Cradock  Mansion,  Wexford,  Mass. 

HAMMOND,  Nellie  C.  Worcester,  Mass. 

156.  Portrait.    Two  Hour  Sketch. 

157.  A  Worn  Path. 

158.  A  Luscious  Mouthful. 

HASBROUCK,  D.  F. 

159.  Springtime  in  Catskills. 

HENDRY,  Frank. 

160.  E.  Shore,  Bar  Harbor. 

HILLIARD,  W.  H. 

161.  Barges  on  the  Seine. 

HIRSCHBERG,  Carl. 

162.  Behind  the  Inn. 

HITCHCOCK,  George. 

163.  Fishermen's  Wives.    Scheveningen,  Holland. 

HOWLAND,  Alfred  C.    A.  N.  A.  52  E.  23d  street,  N.  Y. 

164.  Rendezvous  of  the  Veterans. 

Studied  at  Diisseldorf  ;  pupil  of  Prof.  Flamen  and  Emile  Lambinet.    Exhibited  in  Salon,  1878. 

INGHAM,  Chas.  C.    N.  A. 

Bom  in  Dublin  (1796-1863). 

165.  Portrait  of  Gov.  De  Witt  Clinton. 

Painted  for  Mr.  Boyer,  an  old  friend  of  the  Governor. 


54  E.  13th  street,  N.  Y. 
3  Oscar  street,  Roxbury,  Mass. 

Paris,  France. 
35  W.  14th  street,  N.  Y. 

Europe. 


INNESS,  Geo.    N.  A.  (American  Art  Association,  N.  Y.) 

166.  The  Morning  Sun. 

167.  Study  from  Nature. 

168.  Corner  of  Old  Orchard. 

169.  The  Old  Homestead. 

From  the  collection  of  T.  Wigglesworth,  Esq.,  Boston,  Mass. 

170.  After  the  Combat.    A  marine  effect. 

(From  Mess.  Williams  &  Everett.) 
Born  New  York,  1825.    Studied  in  Italy  and  France,  and  is  one  of  the  best  known  American  painters. 

IRWIN,  Benoni.  140  W.  55th  Street  (American  Art  Association). 

171.  St.  Valentine's  Day. 

» 

JACQUE,  Charles  Emile.  Paris. 

172.  Noonday. 

(From  the  collection  of  T.  Wigglesworth,  Esq.) 
Born  Paris,  1813.    Chevalier  of  the  Legion  of  Honor. 

JOHNSON,  Mary  E.  135  Warren  street,  Boston  Highlands. 

173.  Study  of  Roses, 

JOHNSON,  Mary  H.,  Miss.  Florence,  Italy. 

174.  Young  America. 


JOHNSTON,  John  B.  154  Tremont  street,  Boston. 

175.  Sketch  of  Cow. 

From  collection  of  W.  H.  Downes,  Esq. 

JONES,  Allister  Sumner.  305  Columbus  avenue,  Boston,  Mass. 

176.  Nook  in  the  Woods. 

JONES,  H.  Bolton.  58  W.  57th  street,  N.  Y.  City. 

177.  Evening  on  Back  River. 

178.  November. 

179.  On  the  Landes  in  Brittany. 

180.  Spring. 

Born  Baltimore.    Studied  and  sketched  in  Brittany,  France  and  Spain.    Contributed  to  Salon,  1878. 

JONES,  Marshall.  25  Main  street,  Charlestown,  Mass. 

181.  Peonies. 

182.  River  Meadow,  Wayland,  Me. 

KEITH,  Wm. 

183.  Headwaters  American  River. 


KILBOURNE,  S.  A.  (Deceased.) 
1 84.  Grayling. 


(American  Art  Association,  N.  Y.) 


KNOWLTON,  Helen  M.  169  Trcmont  street,  Boston. 

185.  Glen  Woods,  N.  H. 

186.  Bass  Rocks. 

187.  Norman  Lane. 

188.  Twilight,  Pinckney,  Vt. 

LANDERYOU,  R. 

189.  Driving  Home  the  Cows. 

190.  Riding  out  a  Gale. 

LANSIL,  Walter  F.  Dorchester,  Mass. 

191.  Fishing  Village. 

From  the  collection  of  Chas.  De  W.  Sawyer,  Esq. 

LEAVITT,  E.  C.  Providence. 
191A.  Roses. 

LEGANGER,  N.  T.  149a  Tremont  street,  Boston,  Mass. 

192.  Near  Caldwall,  Lake  George. 

193.  Ideal  Head. 

LEIGHTON,  Scott.  ,  Boston,  Mass. 

193A.  Fowl. 

LEVIN,  Katherine.  558  N.  Sixteenth  street,  Philadelphia,  Pa. 

194.  Chrysanthemums. 

195.  Apricot  Blossoms. 

196.  Pansies. 

LITTLE,  Philip.  44  Boylston  street,  Boston,  Mass. 

197.  Morning  on  the  Coast  of  Swampscott,  Mass. 

LOOMIS,  Chas.  Russell.  223  Asylum  street,  Hartford,  Ct. 

198.  Girl  with  Tambourine. 

199.  Magnolias. 

LOVEWELL,  R.  39  Walnut  street,  Chelsea,  Mass. 

200.  Stranded. 

LOW,  Will.  H. 
201A.  Arcades. 

LYMAN,  Joseph.  51  West  Tenth  street.  New  York. 

201.  Star  Island,  Island  of  Shoals. 

MADRAZO,  R.  Spain. 

202.  Anticipated. 

From  the  collection  of  T.  Jefferson  Cooledge,  Esq.,  Boston,  Mass. 


MAINE,  W.  S. 

(Williams  &  Everett's,  Boston,  Mass.) 

203.  Mountain  Brook. 

204.  Path  Through  Woods. 

MATTACK,  Eleanor.  3310  Woodland  avenue,  Philadelphia. 

205.  Beechwood  in  Winter. 

206.  Pigeons  in  Hayfield. 

207.  Woodlands,  University  in  Distance. 

McAULIFF.  Everett,  Mass. 

208.  Moonlight  in  the  Bay. 

McCORD,  Geo.  H.  52  E.  Twenty-third  street,  New  York  City,  N.  Y. 

(Am.  Art  Asso'n.) 

209.  November. 

210.  Pasture  Meadow. 

211.  Summer  Afternoon,  Biddeford,  Me. 

Born  in  New  York,  1849.    First  instructions  from  Col.  James  Fairman.    Member  Artists'  Fund  Society. 

McENTEE,  Jerves.    N.  A. 

212.  November  Gloom. 

Born  in  New  York,  1828.    Has  exhibited  in  the  great  Exhibitions  in  Europe  and  America,  and  been  awarded 
diplomas  of  excellence.    Made  a  full  Academician,  1861. 

McLEAN,  N.  Wallace.  15  Pemberton  square,  Boston. 

213.  An  Appeal  in  Despair. 

214.  Financially  Embarrassed. 

215.  Composition. 

216.  Portrait. 

217.  A  Gray  Day. 

MILLER,  Chas.  H.    N.  A.  108  West  Twenty-third  street,  New  York. 

218.  Old  Mill  and  Fallen  Willow. 

Born  in  New  York,  1846.    Studied  with  Lier,  and  in  the  Bavarian  Royal  Academy.    Elected  Academician,  1875. 

MILLER,  F.  Sandwich,  Mass. 

219.  The  Old  Bible. 

220.  Gents'  Comfort. 

MILLET,  F.  D.  578  Fifth  avenue,  New  York. 

221.  A  Spring  Offering. 

222.  A  Cottage  Garden. 

Born  in  Massachusetts,  1846.    Studied  at  R.  A.  of  Arts,  Antwerp,  under  Van  Lerius  and  De  Keyser.    Silver  and 
gold  medals,  1872-73.    Am.  Art  Juror  Paris  Exposition,  1878.    Member  Society  Am.  Artists. 

MILLS,  Charles  E.  Music  Hall  Building,  Boston,  Mass. 

223.  Morning. 

224.  Evening. 

(Pastel  drawings.) 


MOODY,  W.  K.,  Mrs.  33  Woodbine  street,  Boston. 

224A,  Brook  Trout. 

MORAN,  Thomas.  9  E.  Seventeenth  street,  New  York  City. 

225.  Ponce  de  Leon  in  Florida. 

(The  scene  represents  Ponce  de  Leon  addressing  his  followers,  and  in  the  name  of  Spain,  under  whose  patronage  he 
was,  claiming  the  territory.  It  happened  that  the  day  was  Easter  Sunday,  1512,  called  by  the  Spaniards  Pascua 
Florida,  and  Ponce  de  Leon  conceived  the  idea  of  giving  the  name  of  Florida  to  the  vicinity,  and  so  it  is  to  this 
day.  St.  Augustine  now  stands  where  he  first  landed.  Ponce  de  Leon  was  wounded  by  an  arrow  received  some 
time  after  in  contest  with  the  Florida  Lidians,  and  ultimately  died  from  its  effects.) 

Mr.  Moran  was  bom  in  Lancashire,  Eng.,  1837.  At  the  age  of  seven  he  came  to  America.  Studied  in  London, 
Paris  and  Italy.  His  "  The  Charm  of  the  Colorado  "  and  "  The  Grand  Canon  of  the  Yellowstone,"  are  owned 
by  the  United  States,  and  are  in  the  Capitol  at  Washington.  Mr.  Moran  is  a  member  of  the  principal  academics 
in  America,  and  his  medal  picture,  "  The  Mountain  of  the  Holy  Cross,"  as  well  as  his  landscape  works,  entitles 
him  to  the  highest  consideration. 

MORSE,  Ed.  R.  34  W.  Fourteenth  street,  New  York. 

226.  Papier  Mach6  Exhibit. 

MOULTON,  Annie  M.  Cor.  Minot  and  Sheridan  streets,  Dorchester,  Mass. 

227.  Iris. 

228.  On  the  Kennebec. 

229.  Near  Bethel,  Me. 

230.  "  Nasturtion." 

MULLER,  Carl  Dusseldorf. 

231.  Virgin  and  Child. 

Prof.  Academy.  His  most  important  frescoes  are  in  the  Church  of  Saint  Appollinarius,  at  Remagen.  The  above 
picture  was  in  the  Paris  Salon  of  1855. 

MUNSELL,  Albert  H.  45  Quincey  street,  Roxbury,  Mass. 

232.  Shortening  Sail  at  Sundown. 

MURPHY,  J.  Francis.  222  W.  Twenty-third  street,  New  York. 

233.  Edge  of  a  Pond. 

Member  Society  of  Am.  Artists. 

NICHOLLS,  Burr  H.  58  West  Fifty-seventh  street,  New  York. 

234.  Greek  Palace,  Venice. 

NICHOLLS,  Rhoda  Holmes.  58  W,  Fifty-seventh  street,  New  York  City. 

235.  "  Waiting  to  be  Plucked." 

A  scene  on  a  South  African  ostrich  farm. 

236.  Quiet  Corner  in  St.  Marks,  Venice. 

237.  Away  from  the  World. 

NORTON,  W.  E.  23  Camden  Road,  London,  N.  W.,  England. 

238.  Moonlight. 

Born  in  Chestertown,  Mass.  Painted  for  several  years  with  fair  success  until  1877,  when  he  had  a  grand  sale  of  his 
works,  and  was  thus  enabled  to  visit  Europe  for  study,  wl.ere  he  has  been  up  to  date. 


NOWELL,  Annie  C. 

239.  Chrysanthemums. 

240.  Portrait  Wendell  Phillips. 

NUTTING,  B.  F. 

241.  A  Windfall. 

242.  Roses. 

243.  After  Sunset. 

244.  Wood  Gatherers. 

245.  Lake  Scene. 

246.  Moon  and  Evening  Star. 

247.  On  the  Charles. 

248.  Pittsfield  Mill  Pond. 


149a  Tremont  street,  Boston. 


12  West  street,  Boston,  Mass. 


Tottenville,  L.  I. 


PAGE,  Wm.    N.  a. 

249.  Portrait  of  Charles  Sumner. 

250.  " 

251.  Portrait  of  James  Russell  Lowell. 

(These  portraits  are  unfinished.    That  of  Mr.  Lowell  was  made  in  1847.    The  Sumner  portraits  are  careful  studies 

from  Mr.  Sumner,  made  during  his  last  hasty  visit  to  New  York,  a  few  months  before  his  death.) 
Mr.  Page  was  born  in  Albany,  1811,  and  is  one  of  the  most  noted  of  American  historical  and  portrait  painters. 


PAIRPOINT,  N.  M. 

252.  Still  Life. 

253.  Study  of  a  Head. 

PALMER,  Laura  E.,  Miss. 

254.  Margherita.  \ 

255.  Life  Study.    >  Terra  cotta  relief  in  silhouette. 

256.  Baby's  Head.  ) 

PALMER,  Walter  L. 

257.  The  Student. 

258.  The  Venetian  Lagoon. 

Born  in  Albany,  N.  Y.    Studied  several  years  in  Paris. 

PEARCE,  Charles  Sprague. 

259.  "  Toiler  of  the  Sea." 

(John  A.  Lowell  &  Co.,  owners.) 


N  ew  Bedford,  Mass. 


Florence,  Italy. 


5  Lafayette  street,  Albany,  N.  Y. 


Paris,  France. 


Born  in  Boston,  Mass.    Painted  under  Bonnat  in  Paris.    Has  made  tours  in  Africa  and  Algiers.    Received  his  first 
prize  medal  in  Paris  Salon,  1883.    Mr.  John  A.  Lowell,  of  Boston,  is  his  principal  patron  and  agent  in  America. 


260. 

261. 
262. 
263. 


PEARSON,  HiRAM  S. 

English  Landscape. 

PETERSON,  George  D. 

Pearl  Diver,  after  Flanderin.  )  „  , . 

^.  y  Terra  Cott£ 


East  Boston,  Mass. 
2  Park  street,  Boston. 


Tigress. 
Lion.  Plaster. 


* 


PHELPS,  W.  P. 

264.  On  the  Coast. 

PLATT,  C.  A.  90  Lexington  Ave.  N.  Y. 

265.  Canal  at  Chartres. 

266.  Fisherman's  House. 

POORE,  Henry  R.  403  S.  41st  street,  Philadelphia. 

267.  Baying  Hounds.    (The  lost  Scent.) 

(From  the  collection  of  Thomas  B.  Clarke,  Esq.,  New  York  City.) 
Born  in  Newark,  N.  J.,  1858.    Studied  in  the  National  Academy  of  Design,  New  York,  in  1876.    In  1877  he  went 
to  Philadelphia  and  entered  the  Life  Class  of  Pennsylvania  Academy  of  Fine  Arts,  also  the  studio  of  Peter 
Moran,  receiving  instruction  for  two  years.    First  exhibited  in  Philadelphia  Academy  in  1878.    Left  home  for 
study  abroad  in  1883  and  is  now  under  Luminals,  in  Paris. 

POPE,  John.  (Deceased.) 

268.  Portrait  Daniel  Webster. 

This  was  the  last  portrait  ever  made  of  the  illustrious  statesman  and  was  painted  by  Pope,  in  Boston. 

POWERS,  Preston.  Florence,  Italy. 

269.  Cameo  Medalions. )        Fisherman's  Children. 

270.  "  ) 

271.  Terra  cotta  relief  in  Silhouette.   Portrait  Baroness  D.  Hogguer. 

Second  son  of  Hiram  Powers.  One  of  his  most  important  busts  is  that  of  the  late  President  Garfield  ordered  by 
Mrs.  Garfield.  He  has  executed  busts  of  Sumner,  Grant,  Whittier  and  Swedenborg  and  several  important 
ideals. 

QUARTLEY,  Arthur.   A.  N.  A.  58  W.  57th  street,  N.  Y.  City. 

272.  From  a  North  River  Pier  Head,  N.  Y. 

Born  Paris,  1839.    Self-taught.    Exhibits  in  the  Royal  Academy  and  Salon  and  all  important  American  Exhibits. 

REHN,  F.  K.  M.  28  E.  14th  street,  N.  Y. 

273.  Surf  at  Atlantic  City. 

REINHART,  Benj.  F.    A.  N.  A.  52  E.  23d  street,  N.  Y. 

274.  After  the  Crucifixion. 

"  And  he  brought  pure  linen,  and  took  h'.m  down  and  wrapped  him  in  the  linen  and  laid  him  in  a  sepulchre  which 
was  hewn  out  of  a  rock." 

Bom  Pennsylvania,  1829.  Studied  in  Dusseldorf  and  Paris.  His  Cleopatra  is  owned  in  England.  Has  painted 
portraits  for  Prince  of  Wales  and  other  of  England's  notables  as  well  as  several  Presidents  of  the  United  States. 


276 
277 
278 
279 
280 


RICHARDS,  F.  De  B.  1520  Chestnut  street,  Philadelphia,  Pa. 

Pine  Creek  Valley,  Pa. 
Lycoming  Valley. 
Salt  Marshes,  New  Jersey. 
Near  Phoenixville,  Pa. 
In  the  Dell. 

Salt  Marshes,  New  Jersey. 


23d  street  and  Fourth  Ave,  N.  Y. 


RICHARDS,  T.  Addison.    N.  A. 
281.  The  Delaware  Valley. 

Bom  London,  1820.  Studied  in  N.  A.  D.,  New  York,  1843-1847.  First  ex.,  N.  A.  D.,  1846.  Elected  A.  N  A., 
1848  ;  N.  A.,  1851.  Secretary  of  N.  A.  D.  from  1852  to  the  present  time.  First  Director  of  Cooper  Union 
School  of  Art  for  Women,  1858-1860.  Professor  of  Art  in  the  University  of  New  York  since  1867.  Author  of  a 
number  of  Art  works. 


ROBINSON,  Edward  A. 
282.  Sunset  Castine,  Me. 


39  Buckingham  street,  Boston. 


283. 
284. 

285. 
286. 


287. 
288. 
289. 
290. 
291. 
292. 
293- 


294. 


295. 


296. 
297. 
298. 


ROBINSON,  Theo. 

In  the  Daisy  Field. 

ROBINSON,  W.  T. 
Apple  Girl. 


ROGERS,  F.  W. 

After  Dinner. 
Cats  at  Home. 


(L.  R.  Menger,  35  Dey  street,  New  York.) 


Maiden,  Mass. 


429  Washington  street,  Boston,  Mass. 


(Owned  by  J.  Eastman  Chase,  Esq.,  Boston.) 
(From  the  Collection  of  T.  Wigglesworth,  Esq.) 


RYDER,  John  S. 
Riding  it  out. 
A  Collision. 
Seining  on  the  Seine. 
A  Perilous  Ride. 
Giving  the  babies  a  ride. 
Crossing  the  run. 
Sea  Urchins. 

RYDER,  P.  P.    A.  N.  A. 
Industry. 

SAMSON,  Jeanne. 

The  Young  Milliner, 

SANDERSON,  Charles  Wesley. 
Near  Dorchester. 
Liana  Cascade,  Salisbury,  Vt. 
Sugar  Maples — Adirondacks. 


33  Windsor  street,  Boston,  Mass. 


335  E.  Ii8th  street,  New  York. 

Paris. 

20  Beacon  street,  Boston. 

Salisbury,  Vt. 


Born  Brandon,  Vt.    Studied  in  Paris.    Admitted  to  I'Ecole  des  Beaux-Arts  for  excellence  in  drawing  from  the 
nude. 


SANDHAM,  Henry. 
299.  The  Late  George  Fuller. 


Boston,  Mass. 


* 


SARTAIN,  Wm.    a.  N.  a.  152  W.  S7th  street,  New  York  City. 

300.  N.  E.  Landscape. 

301.  Rosalie. 

Born  in  Philadelphia,  Pa.  Pupil  of  Pennsylvania  Academy  of  Fine  Arts,  Philadelphia,  Leon  Bonnal,  and  I'Kcolc 
des  Beaux  Arts,  Paris.  First  ex..  Royal  Academy,  London,  1875  ;  N.  A.  D.,  1876  ;  A.  N.  A.,  1880.  Professor 
in  Art  Students'  League.  Silver  Medal,  1881,  Massachusetts  Charitable  Association  ;  Ex.,  London,  Vienna,  and 
Munich. 

SATTERLEE,  Walter.   A.  N.  A.  52  E.  23d  street,  N.  Y. 

302.  One  of  the  Followers  of  El  Mahdi. 

Born  Brooklyn,  N.  Y.,  1844.    Pupil  of  Bonnat.    Lived  and  studied  in  Paris  and  Rome. 

SAVINI,  A.  Rome. 

303.  Lalla  Rookh. 

SCHLJINGER. 

304.  Star  of  the  Orient. 

SHAW,  Annie  C.  210  Wabash  avenue,  Chicago,  111. 

305.  By  the  River. 

306.  A  Quiet  Day. 

SHEARER,  C.  H.  (Williams  &  Everett),  Boston,  Mass. 

307.  A  Gray  Day. 

SHURTLEFF,  R.  M,    A.  N.  A.      969  5th  avenue,  N.  Y.  (American  Art  Association.) 

308.  The  Brook. 

309.  A  Shady  Nook. 

310.  Under  the  Birches. 

311.  Adirondack  Forest. 

Born  New  Hampshire.    First  ex.,  N.  A.  D.,  1872  ;  A.  N.  A.,  i88t. 

SONNTAG,  Wm.  L.   N.  A. 

312.  Landscape. 

Born  Pennsylvania,  1822.    Studied  in  Italy  and  has  contributed  to  many  of  the  important  collections  in  America. 

SPOONER,  Chas.  H.  1520  Chestnut  street,  Philadelphia,  Pa. 

313.  Sunset  in  Florida. 

314.  On  the  River. 

STEWART,  Edw.  B.  31  Holyoke  House,  Cambridge,  Ma.ss. 

315.  August  Afternoon. 

316.  Dusk. 

317.  Along  the  Road. 

St.  JOHN,  Mrs.  S.  H.  58  W.  57th  street,  N.  Y.  (American  Art  Association.) 

318.  St.  Bernard  Puppies. 


STORY,  Geo.  H.    A.  N.  A.  52  E.  23d  street,  N.  Y. 

319.  Portrait  Mrs.  Thomas  Moran. 

Born  in  New  Haven,  Conn.,  1835.    Studied  in  Europe.    State  Medal  of  Maine. 

STRATTON,  Howard  Fremont.  1520  Chestnut  street,  Philadelphia. 

320.  The  Shepherd. 

321.  Lion's  Head, 

322.  Night. 

323.  Spring. 

324.  Water  Lilies. 

STUART,  Gilbert. 

325.  Portrait  of  Thomas  Jefferson,  3d  President  of  the  United  States. 

Painted  in  1806  at  sittings  given  Stuart  and  once  the  property  of  President  Jefferson.    It  comes  to  the  present 
owner,  T.  Jeiferson  Cooledge,  Esq.,  of  Boston,  Mass.,  by  inheritance. 

STUART,  F.  T.  42  Court  street,  Boston. 

326.  Sketch  at  Beechmont. 

327.  "     "  " 

STUBBS,  Wm.  p.  3  Mt.  Vernon  Place,  Boston,  Mass. 

328.  Yacht. 

329.  Homeward  Bound. 

SWEENY,  Mrs.  D.  W.  413  N.  32d  street,  Philadelphia,  Pa. 

330.  Brass  Portrait — Plaque. 

331.  Tiles. 

TECHNOLOGY,  Massachusetts  Institute  of. 

332.  Drawings  and  Designs  and  General  Exhibition  of  Shopwork  made  by  Students 

during  the  Two  Years'  Course.  The  Exhibit  is  outside  and  near  the  East 
Art  Gallery. 

TEWKESBURY,  Fanny  W.  Newtonville,  Mass. 

333-  White  Birches. 

334.  Golden  Rod. 

335.  In  Full  Bloom. 

THOMPSON,  Launt.    N.  A.  Florence,  Italy. 

336.  Indian  Girl. 

From  collection  of  E.  B.  Haskell,  Esq. 
Born  Ireland,  1S33.    Studied  in  Medical  College,  New  York.    Became  a  pupil  of  Palmer  in  1855.    1858  moved  to 
New  York,  and  in  1875  took  a  studio  in  Florence.    His  ideal  and  portrait  work  is  well  known  both  sides  of  the  Atlantic. 


TROTTER,  Newbold  H. 

337.  On  the  Scent. 

338.  Drowsy. 


1 1520  Chestnut  street,  Philadelphia,  Pa. 


* 


TROUILLEBERT.  Paris,  France. 

339.  French  Landscape. 

TRYON,  C.    (Deceased.)  Paris,  France. 

340.  Left  Behind. 

(From  the  collection  of  T.  Jefferson  Cooledge,  Esq.,  Boston,  Mass.) 
Chevalier  of  the  Legion  of  Honor. 

TRYON,  D.  W.  152  W  57th  street,  N.  Y. 

341.  Springtime — Cornay  la  Ville. 

TUCKERMAN,  S.  S.    The  Hague,  Holland— c.  of  J.  Eastman  Chase,  7  Hamilton 

Place,  Boston,  Mass. 

342.  Dutch  Fishing  Boats  at  Katwigk. 

Student  with  Hunt  in  Boston,  also  in  Paris  studios.    Has  lived  abroad  for  the  past  ten  years. 

TURNER,  Ross.  30  Music  Hall  Building,  Boston,  Mass. 

343.  Fissole.    Pastel  Club,  N.  Y. 

Studied  in  Europe  several  years,  and  taken  important  part  in  the  many  grand  exhibitions  there  and  in  America. 

ULLMAN,  Nathan.  239  E.  50th  street,  N.  Y. 

344.  Fruit. 

UNKNOWN. 

345.  Taken  from  an  old  Spanish  Convent  during  the  French  invasion  under  the  first 

346.  Napoleon. 

(From  O.  F.  Boomer  collection.) 

VAN  ELTEN,  KRUSEMAN.    A.  N.  A.  15  W.  loth  street,  N.  Y. 

347.  Meadows  in  Connecticut. 

348.  Cloudy  Day. 

Born  in  Holland,  1829.    Chevalier  Order  of  the  Lion,  of  the  Netherlands.    Member  Academies  of  Amsterdam  and 
Rotterdam,  and  of  the  Belgian  Water  Color  Society.    Medals,  Amsterdam  and  Philadelphia. 

VEDDER,  Elihu.    N.  A.  Rome,  Italy. 

349.  Central  Italy. 

(From  Messrs.  Williams  &  Everett.) 

350.  Figure. 

(From  the  collection  of  E.  B.  Haskell,  Esq.) 
Bom  in  N.  Y.,  1836.    Has  been  a  resident  of  Rome  for  a  number  of  years.    Made  full  member  of  National  Academy 
1865.    Some  of  his  best  pictures  are  owned  in  Boston. 

VERNIER,  Emil.  Paris,  France. 

351.  Early  Morning — Port  of  Havre. 

VERTUNIE,  A.  (Williams  &  Everett,  Boston,  Mass.) 

352.  Near  Rome, 


VINTON,  F.  P.  Park  square,  Boston,  Mass. 

353.  Portrait. 

Born  in  Bangor,  Me.,  1846.  Studied  with  Bonnat,  also  in  Munich  with  Duveneck,  and  at  the  Academy  under  Prof. 
Wagner  and  Diez.    After  his  return  to  Paris,  studied  with  J.  P.  Laurens. 

VOLK,  Douglas.  146  W.  55th  street,  New  York  City. 

354.  Accused  of  Witchcraft. 

(From  the  collection  of  Thomas  B.  Clarke,  N.  Y.  City.) 

Born  at  Pittsfield.  Mass.,  1856.  Pupil  of  J.  L.  Gerome,  Exhibited  in  Paris  Salon,  1875  ;  National  Academy  of  De- 
sign, 1880.    Member  of  Society  of  American  Artists,  New  York. 

(This  picture  illustrates  no  real  incident  of  the  cruel  days  of  witchcraft.  It  is  a  creation  of  the  artist's,  yet  depicts  the 
horrors  of  the  great  superstition  as  practised  in  New  England  two  hundred  years  ago.  The  scene  is  being  enacted 
in  a  colonial  house.  An  invalid  father,  whose  only  comfort  and  support  is  his  innocent  child,  stretches  forth  his 
weak  arm  in  appeal  to  the  hard-hearted  jailor,  the  sanctimonious  divine,  and  the  cursed  hag.  He  seems  to  say  : 
"  What,  my  child  bewitched  ?  My  God,  what  do  you  mean  !  !"  The  look  of  horror  on  the  face  of  the  child,  who 
clutches  her  father's  arm,  gives  evidence  of  abandoned  hope,  and  she  seems  to  see  herself  being  burned  at  the 
stake,  her  father  dead,  and  her  happy  home  destroyed.  The  accessories  show  that  everything  in  the  house  was  of 
the  most  peaceful  nature.  The  Bible  on  the  floor,  the  cheerful  fire  on  the  hearth,  even  the  fatal  black  cat  seated 
in  the  chair  indicates  quiet  and  contentment.  The  artist  has  given  us  the  right  in  his  portrayal  to  say  we  hate 
rather  than  pity  the  men  who  lived  and  condemned  the  poor  innocent.) 

VON  HILLERN,  Bertha.  Hotel  Vendome,  Boston,  Mass. 

355.  Old  Homestead,  N.  Mountain,  Va. 

356.  Remnant  of  the  Battle  of  Fisher's  Hill,  Va. 
357-  Old  Sycamore,  Mossy  River,  Va. 

VON  HOESSLEN. 
357A.  Roman  Winter. 

WAGNER,  Jacob. 

358.  Twilight. 

359.  Portrait. 

360.  Showery  Day. 

361.  Early  Morning. 

WALKER,  James. 

362.  Lookout  Mountain  or,  The  Battle  Above  the  Clouds. 

The  sight  as  descibed,  is  the  sight  of  the  spectator  facing  the  painting. 

On  the  extreme  right  the  spectator  can  see  in  the  distance  portions  of  the  Raccoon  Range.  In  front  of  these  Lookout 
Valley,  through  which  the  Nashville  and  Chattanooga  roads  run.  In  this  valley  are  a  line  of  sand-hills,  the  largest 
named  Tyndall's,  the  one  beyond  Smith's  Hill ;  these,  and  lesser  elevations  in  front,  were  taken  from  the  enemy 
about  the  time  of  the  arrival  of  the  nth  and  12th  corps.  That  engagement  was  called  the  battle  of  Wauhatchie, 
and  it  opened  communication  with  Chattanooga  by  wagon  road,  and  enabled  the  government  to  provision  the 
troops  there.  It  will  be  observed  the  trees  were  cleared  from  the  tops  and  sides  of  these  hills,  and  rifle-pits  con- 
structed running  across  them.  This  was  the  advance  line  of  the  national  forces  in  this  direction  up  to  the  morning 
of  the  battle.  Lookout  Creek  winds  in  front  of  these  hills  and  was  crossed  by  a  railroad  bridge,  destroyed  by  the 
enemy,  where  the  gap  in  the  embankment  is  seen.  The  creek  makes  a  sharp  turn  at  the  clump  of  trees  in  front 
of  Tyndall's  Hill,  and  sweeps  across  the  picture,  emptying  into  the  Tennessee  River  near  the  tall  pine  on  the  left. 
It  can  be  traced  by  a  line  of  brush  and  small  trees,  and  is  occupiid  by  a  Union  skirmish  line.  The  valley  of  the 
creek  in  their  front  is  wide  and  deep,  and  the  spectator  will  see  from  this  fact  that  the  action  of  the  reserve  in  the 
foreground  was  confined  to  a  demonstration  to  keep  the  enemy  in  their  front,  occupy  and  disturb  their  attention 


Phillips  Building,  Hamilton  Place,  Boston. 


* 


from  the  real  attack  on  their  left  rather  than  attempt  to  carry  the  railroad  embankment  and  ndc-pils  hy  front  as- 
sault. The  real  Union  line  of  battle  can  be  traced  by  their  bUie  uniforms,  national  and  Slate  flags,  and  line  of 
white  powder  smoke  from  where  their  left  rests  on  Lookout  Creek,  near  the  tall  dead  tree,  over  the  open  and 
broken  ground  beyond  the  ravine  up  into  the  clouds,  and  above  we  can  see  where  its  advance  has  been  retarded  by 
the  enemy's  heavy  earthworks  :  and  then  again  we  can  trace  them  in  continuous  lino  to  the  front  of  the  ])alisadcs 
that  crown  Lookout.  These  troops  crossed  Lookout  Valley  in  the  forest  above  the  enemy's  picket  line  at  4  a.  m., 
marching  right  up  the  mountain  side  until  their  right  reached  the  impassable  barriers  of  rocks.  They  then  swept 
down  the  valley,  taking  the  rebel  position  in  flank,  and  at  12  o'clock,  noon,  reached  the  position  shown  in  the  pic- 
ture. 

The  Confederate  line  can  be  traced  from  where  their  right  is  formed  in  rear  of  the  embankment  of  the  Nashville  and 
Chattanooga  Railroad,  at  the  cut  near  the  Tennessee  River,  on  the  left  of  the  picture,  to  where  it  falls  back,  near 
the  exploding  mine,  into  the  rifle-pits  in  the  edge  of  the  woods,  holding  them  as  far  as  the  ravine  in  the  Union 
front.  Up  this  ravine,  as  far  as  it  extends,  they  still  hold  the  left  bank,  leaving  a  gap,  occasioned  by  the  los;-.  of  a 
part  of  a  brigade,  between  them  and  the  redoubt  above.  The  summit  was  occupied  by  three  brigades  with  four 
guns. 

To  the  left,  in  the  background.  Mission  Ridge  can  be  seen  ;  in  front  of  it,  Chattanooga  Valley,  through  which  you  can 
trace  the  creek  of  the  same  name.  The  Tennessee  River  here  makes  a  bend  forming  Moccasin  Point,  which  hides 
Chattanooga  from  view. 

The  troops  in  the  foreground  of  the  picture  occupy  Bald  Hill,  which  slopes  towards  the  spectator.  The  central  figures 
are  Major-Gen'l  Joseph  Hooker  and  Major  Reynolds,  chief  of  artillery,  who  has  just  saluted  and  is  reporting  for 
orders  with  a  battery  of  the  reserve,  of  which  we  see  the  right  gun.  The  mounted  officers  in  rear  of  the  (General 
are:  Gen.  Butterfield,  Col.  W.  G.  La  Due,  Col.  J.  D.  Fessenden,  Captain  H.  W.  Perkins,  Major  W.  II.  Law- 
rence, Captain  R.  H.  Hall,  Lieut.  P.  A.  Oliver,  Lieut.  S.  W.  Taylor,  and  Lieut.  H.  C.  Wharton,  of  his  staff. 
The  cavalry  company  beyond  is  his  escort  ;  the  blue  flag  with  star  in  wreath,  the  flag  of  the  12th  Army  Corps. 
The  infantry  in  the  foreground  is  part  of  Osterhaus'  ist  Division,  15th  Army  CoqDS.  The  line  of  battle  on  the 
mountain  side  was  composed  of  the  balance  of  the  above  named  division,  Geary's  2d  Division,  12th  Army  Corps 
and  Cruft's  1st  Division,  4th  Army  Corps. 

The  enemy's  force?  engaged  were  four  brigades  of  Walker's  Division,  Hardee's  Corps,  a  portion  of  Stuart's  Division  of 
Breckendrige's  Corps,  and  on  the  top  of  the  mountain  were  three  brigades  of  Stevenson's  Division. 

A  body  of  the  enemy,  captured  on  the  spur  of  the  mountain,  can  be  seen  running  to  the  rear  in  front  of  the  tall  green 
pine  on  the  right. 


Federal  Troops  Engaged  at  the  Battle  of  Lookout  Mountain. 

infantry. 

Ohio  Regiments. — 2d,  5th,  7th,  24th,  29th,  33d,  40th,  51st,  66th,  90th,  99th,  and  loist. 

Illinois  Regiments. — 13th,  31st,  38th,  59th,  75th,  80th,  84th,  96th,  and  115th. 

Indiana  Regiments. — gth,  29th,  30th,  31st,  35th,  36th,  38th,  8ist,  and  84th. 

Missouri  Regiments. — 3d,  12th,  17th,  27th,  29th,  31st,  and  33d. 

Iowa  Regiments. — 4th,  9th,  25th,  26th,  30th,  and  31st. 

Kentucky  Regiments. — ist,  2d,  8th,  and  21st. 

New  York  Regiments. — 60th,  78th,  i02d,  137th,  and  149th. 

Wisconsin  Regiments. — loth. 

Pennsylvania  Regiments. — 28th,  29th,  77th,  109th,  iiith,  and  147th. 


artillery. 

Independent  Battery  E,  Pennsylvania  ;  Light  Battery,  Battery  K,  1st  Ohio  Artillery  ;  Battery  K,  ist  New  York  Light 
Artillery  ;  and  Batteries  ist  Iowa,  1st  Missouri  and  4th  Ohio  ;  5th  Indiana,  and  H.  &  M.  4th  U.  S.  Artillery. 


CAVALRY. 

Second  Kentucky  and  Co.  K  of  the  15th  Illinois. 

(The  picture  belongs  to  the  estate  of  Gen.  Hooker,  and  was  a  commission  from  him  to  the  artist.) 


WALTON,  William. 

363.  Tannhauser. 

364.  Penelope  Sleeper. 

365.  Waiting. 

WATTEAU. 

366.  The  Picnic. 

WEBBER,  C.  T. 

367.  Portrait. 

368.  Portrait. 

369.  Portrait  Study. 

WEBBER,  Wesley. 

370.  Moonlight,  Nahant. 

371.  View  at  Booth  Bay,  Me. 

WHEELER,  A.  A. 

372.  In  the  Garden. 

373.  Mignonette. 

WHITTEMORE,  C.  E. 

374.  March  Morning,  Babylon,  N.  Y. 

375.  Noon  on  the  Canal,  Ulster  Co.,  N.  Y. 

376.  Twilight,  New  Bedford  Docks. 

377.  Brattleboro,  Vt. 

WHITTEMORE,  Wm.  G. 

378.  A  Country  Lass. 

WIGHT,  Moses. 

379.  An  Agreeable  Present. 

WILLIAMS,  F.  D. 
379A.         On  the  Borders  of  Fontainbleau. 

WOODBURY,  Chas.  H. 

380.  Sketch. 

WRIGHT,  Geo. 

381.  July  Calm  on  the  Atlantic. 

WYDERVELD,  A. 

382.  Fruit  and  Wine. 

YOUNG,  Fred.  Grant. 

383.  Roses. 
384. 


123  Fifth  Avenue,  N.  Y. 


Paris. 


231  W.  4th  street,  Cincinnati,  Ohio. 


I  Pemberton  Square,  Boston,  Mass. 


Wellesley  Hills. 


579  Broadway,  New  York  City. 


246  W.  5 2d  street,  N.  Y. 


Paris,  France. 


44  Franklin  street,  Lynn,  Mass. 


1520  Chestnut  street,  Philadelphia,  Pa. 


54  E.  13th  street,  N.  Y. 


12  West  street. 


MEXICAN  MODERN  AND  RETROSPECTIVE  ART 


1.  A  coming  storm.    Deer  in  the  foreground.    Painted  on  the  cover  of  a  cigar-box,  by 

Islas,  a  living  Mexican  painter,  81x4^  inches. 

2.  Joachim,  father  of  the  Virgin  Mary,    On  jointed  boards,  supposed  to  be  at  least  two 

hundred  years  old.  Probably  by  Baltazar  de  Echave,  of  Mexico,  first  distinguished 
Mexican  painter,  lived  1612.    21  x  12  inches. 

3.  Mother  of  the  Virgin  Mary.    Companion  to  No.  2,  on  jointed  boards.    Same  date,  artist 

and  size. 

4.  Saint  Apolonia,  having  teeth  pulled,  her  hands  being  tied  to  the  trunk  of  a  tree.  Over  one 

hundred  year  old.    An  oval,  on  canvas.    22  x  16  inches. 

5.  The  Virgin  of  Snows,  with  a  child  in  her  arms,  by  Manuel  Caro,  of  Puebla,  17th  century, 

13  X  I2|-  inches. 

6.  Convent  Interior.    Two  friars  in  the  foreground.    Light-blue  sky.    Painted  on  the 

cover  of  a  cigar-box  by  Islas.    8|-  x  5  inches. 

7.  The  Serenade.    A  Spanish  Troubador,  a  girl  at  the  window,  and  a  "  Caballero."  The 

lover  with  a  guitar.    Painted  on  the  cover  of  a  cigar-box.    7x5  inches. 

8.  Virgin  Mary.    A  blue  mantle  covers  her  head  and  falls  around  her  shoulders.  Probably 

by  Jos6  Ibarra  (17th  century).    26x19  inches. 

9.  St.  Francis  de  Sales.    By  Miguel  Zendejas,  Puebla,  born   1524,  and  died    1616.  A 

distinguished  painter.    33  x  24^^  inches. 

0.  Head  of  St.  Paul.    Artist  unknown.    Date  1722.    22|- x  i6|- inches  wide. 

1.  The  Crucifixion  of  Christ.    Date  1738,  by  Nicholas  Enriquez.    31x23  inches. 

2.  "The  Cross  or  the  Sword,"  that  is,  Faith  or  Death.    An  oval,  over  200  years  old.  It 

hung  over  the  principal  door  of  the  Inquisition  at  the  City  of  Mexico.  The  letters 
M  on  one  side  and  I  on  the  other  of  the  cross.    Artist  unknown.    24^  x  I7|-  inches. 

3.  Christ's  Descent  from  the  Cross.    Painted  on  copper.    A  copy  of  Ruben's.  18^x13^ 

inches. 

4.  True  copy  of  the  principal  altar  of  a  church  in  the  jurisdiction  of  Laredo,  Mexico,  with 

thirteen  small  pictures,  thirteen  angel  heads,  four  angels  near  the  bottom,  and  the 
inscription,  "  Quasi  Cipresus  in  Monte  Sion."    Painted  on  copper.    33x25  inches. 

5.  Bacchus  and  his  Court.    A  composition  of  twenty-two  human  figures  and  three  large 

sea  monsters.  Painted  on  copper,  by  Jos6  Maria  Labastida,  in  1783.  I4|  xi9^ 
inches. 


16.  St.  Raphael  and  St.  Tobias.    Painted  on  copper.    Artist  unknown.    i8th  century. 

21  X  1 8^  inches. 

17.  The  Father,  the  Son,  and  the  Holy  Ghost.    Seventeen  figures,  and  painted  by  Miguel 

Cabrera.    Date  1758.    7  feet  by  5  feet  3  inches. 

18.  The  marriage  of  St.  Joseph  to  the  Virgin  Mary.    Four  figures.    The  middle  figure  is 

the  priest,  at  whose  right  stands  Joseph,  and  on  the  left  Mary.  By  Juan  Correa 
6  feet  5  inches  by  4  feet  7^  inches. 

19.  St.  Francis.  ■  Skull  and  cross.    His  feet  and  hands  are  pierced  by  nails.    Date  i8th 

century.    By  Alonzo.    8x6  inches. 

20.  Mother  and  child.    Artist  unknown.    Of  the  i8th  century.    18  x  15  inches. 

21.  The  Game  of  Dominoes.    By  Juan  Ortega,  student  of  the  San  Carlos  Academy,  City  of 

Mexico. 

22.  Ariadna  Abandoned  by  Tasus  is  consoled  by  Bachus'  Love  Offerings. 

23.  A  Love  Proof.    By  Alberto  Bribiesca. 

24.  The  Viga  Canal.    By  Agustin  Ramirez.    A  view  in  the  suburbs  of  the  City  of  Mexico. 

25.  The  Plaza  of  San  Angel.    By  Augustin  Ocampo.    Situated  about  twelve  miles  south- 

east of  the  City  of  Mexico. 

26.  San  Antonio  Chimalistaco.     Copy  from  original  of  Sefior  Landicio  de  Torino,  by  Miguel 

Portillo. 

A  View  in  the  town  of  San  Angel. 

27.  The  Bather.    By  Juan  Ortega,  Student  of  the  San  Carlos  Academy,  City  of  Mexico. 

28.  Native  Fisherman.     By  Juan  Ortega,  Student  of  the  San  Carlos  Academy,  City  of 

Mexico. 

28  A.  Native  Fisherman.     By  Juan  Ortega,  Student  of  the  San  Carlos  Academy,  City  of 
Mexico. 

29.  The  Daucus.    By  Juan  Ortega,  Student  of  the  San  Carlos  Academy,  City  of  Mexico. 
Taken  from  an  antique  model  in  clay.    The  figure  of  Ephigemia  is  from  a  model  by  the 

same  artist. 

30.  Saint  Peter  at  the  moment  of  the  Cock  Crowing. 

Attributed  by  some  to  Echave,  but  more  generally  believed  to  be  the  work  of  ]os6 
Ibarra,  seventeenth  century. 

31.  The  Victims  of  the  Inquisition.    By  Juan  Correa,  seventeenth  century. 


BRANCH    HOUSE  OF 


Archer  &  Pancoast  M  f  g  Co. 

NEW  YORK. 
PARLORS : 

Cor.  West  and  Washington  Streets,  Boston. 

ENTRANCE,  12  WEST  STREET. 


FINE   GAS  FIXTURES 

IN  BRASS  AND  WROUGHT  IRON.    New  and  Elegant  Designs. 


Grates,  Fenders,  Andirons,  Lamps,  Sconces,  Candlesticks,  and  Small 

Brass  Goods  in  endless  variety. 


BOSTON  BRANCH. 


WM.  L.  IRELAND,  Manager. 


©©IPYKUSETirElE). 


CELEBRATED  HATS. 


Refinement  in  dress  emphasizes  the  lady  or  gentleman^  and^ 
as  the  hat  plays  art  important  part  in  the  attire  of  either^  a 
proper  discrimination  in  its  selection  is  essential.  The  styles 
and  quality  of  the  DuNLAP  Hat  have  given  it  a  pre-eminent 
distinction  all  over  the  worlds  and  established  for  it  a 
recognition  which  its  creators  are  proud  of  and  determined  to 
maintain.  Originally  manufacturing  for  gentlemen' s  use 
only^  the  firm  now  supply  ladies  as  ivelly  and  at  their  several 
establishments y  from  season  to  season^  elaborate  exhibits  are 
made  of  the  latest  desi^yis  in  Plushy  Felt  and  Straw. — From 
THE  Aldine  Press. 


RETAIL  STORES, 

Nos.  I'jScr'  180  ^fA  Ave.  179  Broadway, 


Near  Fifth  Avenue  Hotel, 
Bet.  ^id&'ijdSis., 


Near 
Cortlandt  Street^ 


NEW  YORK. 
Palmer  House,  9 1 4  Chestnut  Street, 

171      173  state  Street,  Chicago.  Philadelphia.,  Pa. 


FACTORIES, 

Silk  and  Opera  Hats,  Straw  Goods, 

igi,  iqi,  jgs  Seventh  Ave.,  132        134  .South  Fifth  Ave., 

New  York.  New  York. 

Felt  Hats, 

72  io  83  Nostrand  Avenue  Brooklyn. 


The  Boston  Herald 


AVERAGE  DAILY  CIRCULATION 

115,047 


The  Sunday  Herald 

AVERAGE  DAILY  CIRCULATION 

95.519 


Arthur  Little, 


ARCHITECT, 


93    MASON  BUILDING, 


Batterymarch  St.,  Liberty  Square, 


BOSTON. 


F.  W.  Dcvoe  &  Co., 

Fulton  Street,  cor.  William,  New  \'c)rk, 

(Kstablishcd  1852.) 
—MANUFACTURERS  OF— 

Artists'  Matkrlxls 


F.  W.  D.  &  CO.'S  TUBE  COLORS. 

V.  W.  D.  &  CO.'S  CANVAS. 

F.  W.  D.  &  CO.'S  FLNE  BRUSHES. 


Our  Manufactures  command  tlie  confidence  of  the  leading 
artists  of  the  country.    A  list  of  those  endorsing 
our  goods  sent  on  application. 


Crayon,  Sculptors  a>id  Etchitig  Materials. 

Drawing  Papers,  Mathematical  Instruments. 

WHITE  LEAD,  COLORS,  VARNISHES. 


Mail  Orders  and  Inquiries  receive  prompt  attention. 

F.  W.   DEVOE.  J.   F.   DRUMMOND.  J.  SEAVER  PAGE. 


"BOSTON'S  TALATIAL  HOTEL. 

THE 

*  VEND'OME,  * 

Commonwealth  Avenue  and   Dartmouth  Street, 

BOSTO|^,  U.  S./r. 


COMMONWEALiTH  AVISiMUB,  Showing  the  BratUe-square  Church  and  the  Veudomo. 


In  every  re  sped  firsf-closs,  Delightfully  surrounded, 

H  is  thoroughly  fire-proof,  Grand  in  the  exterior. 
Conveniently  situoted.     Elegant  in  the  interior. 


J.  W.  WOLCOTT,  Proprietor. 


PHOTO-MECHANICAL  PRINTING— For  the  reproduc 
tion,  In  printers'  ink,  on  the  'printing  press,  of  Portraits  and 
Views  from  Nature,  and  all  descriptions  of  PHOTOGRAPHIC 
work. 

PHOTO-LITHOGRAPHY.  —  For  the  reproduction  of 
Artists',  Architects',  Engineers',  Surveyors',  and  other  Draw- 
ings, from  originals  in  black  and  white. 

PHOTO-ENGRAVING  AND  ZINC  ETCHING.— For 
the  production  of  Cuts  to  print  with  type,  from  originals  in 
black  and  white. 

PHOTO-CAUSTIC  PRINTING.— For  the  lithographic 
reproduction  of  photographic  subjects,  without  redrawing. 

LITHOGRAPHY. 


CHROMO-LITHOGRAPHY. 


Of  all  classes. 


DIRECT  TRANSFER.— A  patented  process  for  the  speedy 
reproduction  (from  originals  made  with  ordinary  ink  on 
ordinary  paper)  of  autograph  letters,  sketches,  caricatures,  etc., 
either  cis  cuts  or  lithographs. 


THE  HELIOTYPE  PRINTING  COMPANY, 
211  TREMONT  STREET, 
BOSTON,  MASS. 


CALL  AND  EXAMINE 


TlIK 


Guild  Pianos 

175  B  Tremont  St., 

BOSTON. 


A  call  from  you  at  our  warcrooms  will,  we  think,  convince 
you  both  of  the  Superiority  of  our  Pianos  and 

THEIR  UNPARALLELED  LOW  PRICES. 


ANTIQUE  STYLES  MADE  TO  ORDER 

CORRESPONDENCE  SOLICITED. 


THE  FIFTH  ANNUAL  INDUSTRIAL 

E  X  H I B  rr  I  O  N 

OF  THE 

NEW  ENGLAND  MANUFACTURERS' 
AND  MECHANICS'  INSTITUTE 

Will  Open  Early  in  September,  1885, 

and  continue  two  months,  and  whether  you  are  likely  to  be  an  exhibitor 
or  a  visitor  it  will  interest  you  to  know  that  this  Fair  promises  to  be  the 
most  attractive  ever  held  in  New  England.  Many  new  features  will  be 
presented ;  and  the  policy  of  the  Institute — to  educate  and  instruct  as  well 
as  amuse — will  be  more  strikingly  exemplified  than  ever  before. 

The  building  of  the  Institute  is  known  throughout  the  country  as 
the  "Institute  Fair  Building,"  and  is  three  times  larger  than  any  other 
exhibition  building  in  New  FIngland.  Here  is  a  comparative  statement 
which  is  worth  keeping  for  reference: 

Ground  Area, 

Building;.  Sq.  Ft. 

Old  State  House   4, 511 

Faneuil  Hall   8,400 

Tremont  Temple  Hall   8,820 

Music  Hall   12,600 

Public  Library  Building   23,415 

City  Hall   25.915 

Quincy  Market   27,400 

Fitchburg  Depot     49,987 

Boston  &  Providence  Depot    55,742 

Boston  &  Lowell  Depot   59,760 

Old  Colony  Depot   64,780 

Boston  &  Albany  Depot   76,682 

Mass.  Charitable  Mechanic  Association,  whole  building   90,000 

Mass.  Charitable  Mechanic  Association,  Grand  Hall   29,350 

New   England   Manufacturers'   and   Mechanics'   Institute,  whole 

building    213,000 

New  England  Manufacturers'  and  Mechanics'  Institute,  grand  hali  150,696 

The  great  Coliseum,  specially  erected  at  Boston  for  the  World's  Peace  Jubilee,  was  generally  supposed 

to  have  been  the  largest  building  at  that  time  in  the  world,  yet  its  ground  area  contained  only  192,500  square 

feet,  or  20,500  feet  less  than  the  New  England  Institute  building  in  this  city. 

Applications  for  space  in  which  to  exhibit  will  be  received  until 
July  I,  and,  if  accepted  by  the  Committee,  will  be  classed  and  grouped  in 
proper  departments,  and  space  assigned  in  rotation,  in  the  order  in  which 
the  applications  are  received.  Blanks,  with  full  instructions,  furnished  by 
John  F.  Wood,  Treasurer,  38  Hawley  Street,  Boston,  and  at  the 
Institute  Fair  Building,  end  of  Huntington  Avenue. 


JOHN  M.  LITTLE,  Chairman, 

Committee  on  Conduct  of  Fair. 


GILLISS   BROTHERS  &  TURNURE 


THE 

ART  AGE  PRESS 

NOTE 

BOoks,  catalogues,  programmes,  stock  certificates,  commercial  stationery 
and  other  printed  matter  bearing  the  imprint  "  The  Art  Age  Press  "  has 
been  heretofore  the  joint  production  of  Mess.  Gilliss  Brothers,  printers, 
and  Mr.  Arthur  B.  Turnure,  editor  and  proprietor  of  the  Art  Age — a 
journal  devoted  to  improvements  in  bookmaking.  On  and  after  the  first  of 
November  a  new  firm  style  will  be  adopted,  viz.,  Gilliss  Brothers  &  Turnure, 
The  Art  Age  Press.  No  better  printing  can  be  had  than  will  emanate  from  this 
establishment  which  has 

EIGHT  PRESSES 

capable  of  producing  in  the  best  manner  any  "  book,"  whether  a  card,  a  single 
page  circular,  a  newspaper,  a  magazine  or  a  folio  volume. 

ORDERS  ARE  INVITED 

from  those  wishing  to  have  care  taken  with  their  work  and  who  appreciate  the 
value  of  art  applied  in  printing.   Estimates  will  be  made  on  all  kinds  of  work  ; 

THE  IMPRINT 

of  the  firm,  however,  is  placed  only  on  first  class  work.  Samples  of  work  done  in 
the  past  twelve  years  can  be  seen  at  the  offices, 

75-79  Fulton  Street  and 

132  Nassau  Street 

NEW  YORK 


FROST  &  ADAMS, 

Importers  and  Dealers  in 

y^^rtists'  ]y[aterials  of  £very  J^escription. 

MATHEMATICAL  INSTRUMENTS  AND  STATIONERY  FOR 

ARCHITECTS  and  ENGINEERS. 

No.  37   CORNHILL,  BOSTON. 

F.  S.  FROST.  H.  A.  LAWRENCE. 

CATALOGUE  SENT  UPON  APPLICATION. 


FOR  ARTISTIC  USE  in  Fine  Drawings,  Nos.  290,  291.  659  &  850. 


FOR  FINE  WRITING, 

Nos.  I,  303  AND  Ladies',  170. 


FOR  BROAD  WRITING, 

Nos.  294,  389  AND  Stui?  Point,  849. 


FOR  GENERAL  WRITING,  Nos.  332,  404,  390  and  604. 


JOSEPH  GILLOTT  &  SONS,  91  JOHN  ST.,  N.  Y. 


HENRY  HOE,  Sole  Agent. 


THE  FORBES 

T  jTHOGRAPH  Manufacturing 


OF  BOSTON. 


r?INE  LITHOGRAPHING  AND  PRINTING  OF  EVERY 
^  KIND,  including  the  celebrated  ALB ERTYPE  PROCESS,  which 
is  one  of  the  most  successful  of  all  the  Photo- Mechanic  at  methods  of 
Printing.    The  prints  being  absolutely  permanent,  are  especially  desirable 
for  the  reproduction  of  al^Art  IVorks,  when  exact  facsimiles  are  desired. 

This  process  is  also  invaluable  for  COMMERCIAL  ILLUSTRA- 
TIONS, CATALOGUES,  &c. 

THE  FORBES  CO.  are  Sole  Agents  for  the  United  States  and 
Canada,  of  Mess.  RAPHAEL  TUCK  &  SONS,  Fine  Art  Publishers 
of  London,  England,  for  their  various  Publications,  including 

CHRISTMAS  AND  BIRTHDAY  CARDS, 
EASTER,  VALENTINE  AND  SUNDAY- 
SCHOOL  REWARD  CARDS. 

And  Art  Novelties  in 

FIRE  SCREENS,  PLAQUES,  &C.^ 


i8i  DEVONSHIRE  STREET,  BOSTON. 


Wadsworth,  Rowland  <5t  Co., 

84  Washington  St.,  Boston. 
Importers  and  Dealers  in 

A  rtis  ts   Ma  te  I s 

FOR 

PAIN-TING,   DRAWING    AND  DECORATING 
OF  EVERY  DESCRIPTION. 

Also  Mathematical  Instruments  and  Architects' 
and  Engineers'  Supplies. 


CATALOGUES  FREE  UPON  APPLICATION. 


Decorative 


Of  all  Descrip- 
tions ;  Embroi- 

Embroideries  teL^!7''2. 

glish  Filoselle  and  other  Embroidery  Silks.  Wor- 
steds, Crewels,  Cottons,  etc.  Also,  Fabrics  for 
A  >  t  Embroidery,  Designing,  and  Lessons  given  in 
all  kinds  of  Art  Needle^vork. 

JAMES  B.  SHEPHERD, 

927  Broadway, 

Between  ■zxst  and  22d  Streets, 

NEW  YORK'. 

Send  I  cent  Stamp  for  Catalogue. 


J.  &  R.  L  A  M  B 

•.=;<)  :C,\K  MINK;  ST;  N  N  '  .• 

memoRiALS 


: :  ARTlSTie-^  STAineO  ^  GLASS : : 

DOMKSTIC  :  GLASS  :  IN  :  N1':\V  ;  DlsSKiNS 

ll.I.llS TRATKIl  HANUnOOK  KUKK  ItV  MAM. 

WOKKERS  ■  IN  -WOOD  •  S  TONE  •  AND-  MKTAL 
FOR  •CHURCH  •  PURPOSES 

II.I.USTKATBI)  CATAI.nr.l'I!  BV  MAll,  I'RHIt 

4-  ARTISTIC  +  CARVGD  +  IVORY  +  GRUCIFIXCS  -(- 


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FURNISHING  OK  THE  HOME. 
"  It  Is  witliout  doubt  the  most   be.niitiful   and   complete   of  all 
American  periodicals  devoted  to    like    purposes."  —  Washington 
(D.  C.)  Republican,  Nov.  6,  1883. 

Sxibscription ,  $4.00  Per  Yeai-.        Single  Copies,  35  Cent.'!. 

The  Decorator  and  Furnisher, 

30  &  32  East  14th  Street,  New  York. 


PELHAM  STUDIOS. 


Offices,  Studios,  Rooms,  Connecting  or  Single. 


Next  to  the  Public  Library  and  planned  especially  for  Artists  and  Art 
Occupations.  Only  First  Class  Tenants  admitted.  Every  modern  convenience. 
For  particulars  apply  to  ■ 

JOHN  M.  LITTLE, 

HOTEL  PELHAM, 
Corner  Boylsion  and  Tremont  Streets,      BOSTON,  MASS.,  U.  S.  A. 


HOTEL  PELHAM 

The  First  Apartment  House 

EVER  BUILT  IN  AMERICA. 

Applications  for  tenancy  are  received  and  placed  on  file  awaiting  vacancies.  This  House  is 
the  most  favorably  situated  in  Boston.  Only  First  Class  Tenants  are  admitted.  For  particulars 
apply  to 

JOHN  M.  LITTLE, 

'HOTEL  PELHAM, 

Corner  Boylston  and  Tremont  Streets,  BOSTON,   Mass.,   U.   S.  A. 


1883. 


THE 


1883. 


CATALOGUE 


OF  THE 


ART  DEPARTMENT 

ISSUED  IN  CONNECTION  WITH  THE  THIRD  ANNUAL  FAIR  OF 

The  new  ENGLAND  MANUFACTUR- 
ERS'AND  MECHANICS'  INSTITUTE 

WAS  PRONOUNCED 

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CUTS,  INITIALS,  HEAD-BANDS,  and  TAIL-PIECES,  with  an 
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"A  desirable  acquisition  to  American  collectors." — 
New  York  Mail. 

"A  credit  to  all  concerned  in  its  composition." — Boston 
Advertiser. 

"From  titlepage  to  close  it  is  a  magnificent  achieve- 
ment. ' ' — PhiladAphia  Progress. 

J'  The  best  thing  of  its  kind  ever  issued  in  this  or  per- 
.liaps  in  any  country." — New  York  Critic. 

"  Finest  work  of  the  kind  ever  published  in  this  country, 
or  perhaps  even  in  Europe." — Boston  Post. 

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"  One  does  not  need  to  be  told  that  this  work  is  the  re- 
sult of  great  enterprise  and  persistent  labor." — Boston 
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country." — Neza  York  Herald. 

"  The  book  itself  is  a  monument  to  the  success  which 
has  been  attained  in  the  cultivation  of  tlie  many  arts  in 
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"  It  is  an  exquisite  volume,  and  the  most  successful  ef- 
fort ever  made  in  the  United  States  to  place  before  the 
public  the  results  of  American  art." — Galignani's  Messen- 
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"  It  is  certainly  one  of  the  finest  things  in  its  kind  ever 
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This  elegant  art  publication  of  the  Institute  can  be  obtained  (upon  written  application)  at  the  office  of 

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Price  ^5.00  at  Retail. 


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ART   PRINTING   IN  PHOTOTYPE. 


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It  is  now  in  its  second  volume  and  is  beautifully  printed  in  two  colors,  red  and  black. 

TWO  DOLLAR.S  A  YEAR 

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